PS 3503 
R53 G5 
1915 
Copy I 



PLAYS EXCHANGED. 

or Plt\ ys 



The Girl From Upper 7 



Price, 25 Cents 



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Price, 50 gents €acb 

THF A M A 70N^ Farce in Three Acts. Seven males, five fe- 
lllCi AlTIA^wliO males. Costumes, modern; scenery, not 
difficult. Plays a full evening. 

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tumes, modern society; scenery, three interiors. Plays a full evening- 

riAlSIHY rifflC Farce in Three Acts. Seven males, four fe- 
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riors. Plays two hours and a half. 

THI7 C AV I riPH niTI«Y Comedy in Four Acts. Four males, 
inLll/il 1A/I\IS ViULiA ten females. Costumes, modern; 
scenery, two interiors and an exterior. Plays a full evening. 

UIQ MniTQE IN A!?ni7R Comedy in Four Acts. Nine males, 
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scenery, three interiors. Plays a full evening. 

TUI7 HfHlKY UftRQE Comedy in Three Acts. Ten males, 
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TDIC Drama in Five Acts. Seven males, seven females. Costumes, 
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.•• : 

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No. 5 Hamilton Place, Boston, Massachusetts 



The 



Girl from Upper 7 



An Original Comedy in Three Acts 



By 
GLADYS RUTH BRIDGHAM 

Author of "Leave it to Polly" "A Regular Scream" "Not 
on the Programme" "A Modem Cinderella" "On the 
Quiet," "A Regular Rah/ Rah! Boy," "Sally 
Lunn,""Six Times Nine," "Cupid's Partner," 
"Her First Assignment," "A Case for Sher- 
lock Holmes," " Rin g- Around- a- Rosie" 
"Three of a Kind," "The Turn 
in the Road" "The Queen of 
Hearts" etc. 



BOSTON 

WALTER H. BAKER & CO. 

1915 



The Girl'froui Jpper 7 



CHARACTERS 

(As originally produced in High School Hall y Somer-v'tlle, Mass., 
January 27, I<?IJ, for the benefit of Somer-ville charities.) 

Rev. John Blake Leonard A. Rice 

Francis Hughes, Acting Manager of the 

W. R. &* C. R. R. . . . . . Philip Watson 

Edward Fielding j #"*%* *%*'* T// OJ i0\ A ^ch. R. Giroux 
Douglas Mason j £ ^^ f j 

Steven Malone, Manager of the Lower 7 Ranch 
Ezra Simpson, in Malone' s Employ . 
Jonah Hawkins, Sheriff of Sedhill County 
Noah Hawkins .... 
eltzhugh montmerry-loveland . 

Tom McShane 

Rose Hawkins f «v ?- j tj ) 
Mary Hawkins { 7 onak s dau Shters J 

Fawn-No-Fraid .... 

Mrs. Susan Brent, Mason's Aunt , 
Octavia Brent ( , , 7 . ) 
Genevieve Brent \ ^daughters J 

Flossie Mason f ] 

Muriel Lee -j Octavia s friends > 
Irene Gordon ( j 

Fleurette, Mrs. Brent's maid 
Genie McShane . 



George Toomey 

Earle Cushing 

Ralph Binney 

Clayton Ellis 

Frank Bradley 

. Russell Cook 

Horace Gilmore 

Phyllis Noyes 

Lillian Edwards 

. Ret a Meyers 

. Edna Noyes 

Adelaide Furlong 

Gladys Stone 

Helen Anderson 

Mario?i Hersey 

Grace Taylor 

Beatrice Simmons 

Miss Bridgham 



Plays About Two Hours 




Copyright, 1915, by Walter H. Baker & Co. 
©CI. D 40644 

MAY 14 J9I5 



The Girl from Upper 7 



ACT I 

SCENE. — An old ranch house which is being used as the office 
of the W. R. 6" C. R. R., at the foot of the Upper f trail. 
The scene should be exceedingly rough, the characters wear- 
ing western costumes, high boots, large hats and so forth. 
Exits r., L. a?id c. ; table with a telephone in the background 
a little to the left ; table with typewriter right front ; a seat 
with a fur robe thrown over it near the centre door ; table 
in the centre of stage covered with papers, writing materials 
and so forth. 

( When the curtain rises Edward Fielding sits at table in 
ce?itre ; he is leaning forward with his head on his arms, 
asleep.) 

Douglas Mason {outside). Ned! Ned I Where are you? 
(Mason e?iters, c, stops, and looks at Field, in astonishment.) 

Well, I'll be Say, come to life, will you? This is no 

time to be sleeping ! (Shakes Field.) Say, Mr. Rip Van 
Winkle, this isn't Sunday morning ! 

Field, {sitting up and looking rather dazed). What's the 
matter ? 

Mason. What do you think you are doing ? 

Field. Dreaming, and it's darned mean of you to wake me 
up ! I was dreaming there were a whole lot of girls in here all 
dancing around and 

Mason {impatimtly). Say, will you come out of it ? You 
are a hot one to leave in charge. Any one could come in here 
and pinch everything in sight, yourself included. 

Field, {still about half asleep). Well, they wouldn't be get- 
ting much. {Suddenly realizes what he has said.) That is, I 
mean 



4 . THE GIR!t FROM UPPER J 

Mason (breaking in upon him). That's right ! They 
wouldn't. 

Field. You're fresh, aren't you ? What do you want of 
me, anyway? 

Mason. Hughes wants the plan of the road and he also 
wants you to run off a list of the employees who live around 
here and are likely to be friendly to the Lower 7 gang. Hurry 
up ! I am to wait and take them down to him and I don't 
care about dallying very long. Hug"hes is usually pretty good- 
natured but he is peppery enough to-day. 

Field. I don't wonder. The heat is enough to make any 
one swear. Here's your plan. 

{Hands him the plan which he takes from the papers on the 
table ; crosses to typewriter and begins to run off the list. 
Mason sits at his place at centre table ; spreads out the 
plan and looks it over as he talks.) 

Mason. A lot you know about the heat in here asleep ! 
You ought to go down on the road. It's fierce ! Thank 
heaven it's cooling off a little.. Say, Ned, if ever any one was 
in for trouble, Hughes is. 

Field. You really think so ? 

Mason. I know so, unless that manager from New York 
arrives mighty quick. The whole responsibility rests upon 
Hughes, and I believe we have got to back him up in a mighty 
unpleasant scrap. 

Field. What's happened ? Anything new ? 

Mason. Yes. Steve Malone has been down on the road 
talking to the boys. He says we are running our tracks on the 
Lower 7 land and we've got to quit. To tell the truth I don't 
believe Hughes knows where he is running the tracks. It's 
darned hard to tell from these plans. Mr. McShane could tell 
in a minute. I believe he is sure of every inch of ground. 
Any message from Upper 7 this afternoon ? 

Field. Not directly. Lewt Benson dropped in, and he said 
they have a trained nurse at Upper 7 and a physician staying 
right there all the time. He says McShane is in bad shape. 
He also siad he heard that McShane's son arrived last night. 

Mason. His son ? Well, no doubt he will come down and 
take charge of things. That will be good news to Hughes. 
It's a pity he hadn't been here to lay down the law to Malone. 
He is getting mighty unpleasant, and the men are more than 
half inclined to listen to him. 



THE GIRL FROM UPPER 7 r 

Field. Naturally. He's their own kind. Here's the list. 
(Jtises and hands Mason the list.) 

Mason. All right. Ned, there's something I want to say 
to you if you will promise not to get sore with me. 

Field. Fire ! I'll take anything from you, old man. 

Mason. Where were you last night, and the night before 
that, and the night before that ? And I could go back quite a 
number of nights .and still go back some more." ' 

Field, {turning away with a laugh and 'sitting down at type- 
writer again}. Now, that isn't fair. You said that you 
wanted to say something, and instead you are asking me to say 
something. J 

Mason. I don't suppose it's any of my business and proba- 
bly I'm a regular old Betty, but it's the truth that I am worried 
about you. (Field, laughs.) I wish you wouldn't take it that 
way, Ned. (Goes to Field, and places his hand on his shoul- 
der.) If I had a brother I couldn't care for him more than I 
do for you. 

Field. I know it, Dougie. You are the best fellow that 
ever lived, and I don't deserve one-half the loyalty and affec- 
tion you bestow upon me. I have important business that I am 
looking into. 

Mason. I wish you would let me go with you if you feel 
called upon to spend every night out. You haven't been out 
here long, and you don't know the ways of the boys around 
here We are too close to Lower 7 to suit me. Malone has a 
tough bunch over there. You aren't safe. 

Field. Well, I should fret ! 

Mason. Laugh if you want to. I'm talking good common 
sense. Another thing, when you are up all night you aren't fit 
to work the next day. Do you suppose if you went to bed at 
night you would sit around here sleeping instead of working ? 
I wish it had been Hughes who found you in here as I did. 
He might get up courage enough to tell you to stay in to-night. 
He is as worried about you as I am, but he doesn't dare to 
say so. 

Field. I hadn't noticed that Hughes was at all shy. 
m Mason. Not where the work is concerned. If he could 
just find out that you are neglecting your work you would hear 
trom him quick enough. 

Field. Perhaps McShane's son will discover what a no- 



6 • THE GIRL* FROM UPPER J 

count employee I am and you will have the pleasure of seeing 
me squelched. 

Mason. Hope I do ! I'll be in the cheering section when 
it happens. We'll be up pretty soon. (Goes toward door.') 
Hughes is going to . let the men off early. The heat has done 
every one out. [Exit, c. 

(There is a slight pause. Field, begins to work on type- 
writer. Mary Hawkins ru?is in, c. She is about four- 
teen ; she is very pretty ; has long black curls ; wears a 
gingham dress and a sunbonnet. She carries some books 
and a lunch basket, and is followed by Rev. John Blake, 
who also carries some books. ) 

Mary (very much excited). Mr. Fielding, have you seen 
my father ? 

Field. No. 

Blake. I saw him just a minute ago, Mary. What is the 
trouble ? 

Mary. We don't dare to go home from school ! 

Field. Why ? 

Mary. There's a fight down at Lower 7. Some of their 
men are in the lower corral right where we go by from school, 
and one of them is waving a six-shooter in the air, and one of 
them shouted for us not to go by. The children are just down 
the road and they don't dare to go any further. I wasn't 
afraid. I was going right down there, but the children held 
onto me and I couldn't get away from them. 

(Mary's eyes flash as she talks.) 

Blake. I will go with you, Mary, and find your father. 

(He places his books on the table and exits, c, with Mary. 
There is another slight pause as Field, goes on with his 
work. Rose Hawkins comes to door, c. Rose is a 
typical western girl, very pretty, in a western riding 
costume.) 

Rose. May I come in, please ? 

Field, (hurrying forward to greet her, and very much 
pleased to see her). Miss Hawkins ! 

(She enters, and they shake hands.) 

Rose (glancing about). Oh, are you alone, Mr. Fielding? 



THE GIRL FROM UPPER 7 7 

Field. Yes, the boys are all down on the road. Won't 
you sit down ? Just a minute, you know, and rest ? 

Rose {hurriedly, glancing about as if uncertain of the pro- 
priety of her presence in the office). Oh, no, thank you, I 
really couldn't. I have been to the post-office and I was just 
going home. I met Joe Hinckley, and he said some of their 
boys were in a fight and the children didn't dare to go by from 
school. I was so worried about Mary. Have you seen her ? 

Field. Yes. She is all right. She was here for a minute 
and Mr. Blake has gone with her to find your father. 

Rose. Oh, I'm so relieved. If anything happened to Mary 
it would kill father. He fairly idolizes her, you know. 

Field. Yes, I have noticed that he takes from her what he 
wouldn't stand from Noah for half a second. 

Rose. Or from me, either. 

Field, {laughing) . Mary certainly has plenty of spirit. 

Rose. Oh, it isn't anything to laugh at. It's dreadful, and 
we are all to blame. We spoil her completely. You see, 
mother died when Mary was only ten days old. She has 
mother's face and mother's name, and we have all been her 
willing slaves. I have tried so hard to be all that mother 
would have been to her, and sometimes I feel as if I had failed 
completely. 

Field. No, you haven't, Miss Hawkins. You are a won- 
derful sister to Mary, and every one thinks so. Mary is all 
right. She needs a lot of vim to live in this part of the 
country. 

Rose. I'm beginning to think she does. Things have 
always been quiet enough up here ; but since you began to 
build the railroad, it seems as if there had been nothing but 
trouble. 

Field. Well, now, Miss Hawkins, it is hardly fair to 
blame us. 

Rose. Noah saw the Black Raider last night. 

Field. Oh, Miss Hawkins, that's a little steep, you know. 
I'm afraid Noah was stretching it. 

Rose. I don't believe so. He came tearing into the house 
after father and they both went out. 

Field. Really ? What was the raider like ? 

Rose. I guess Noah didn't stop long enough to get a very 
good view. He said he had a black mask and a long black 
cloak wrapped around him. 

Field. That sounds interesting, doesn't it? 



8 THE GIRL FROM UPPER J 

Rose. .Yes, very ! ( Walks to door.) 

Field. Must you go? 

Rose. Yes, I shouldn't have stayed as long. Good-bye. 

Field. Good-bye. (Rose exits, c. Field, goes to table ; 
takes a cloak and mask from the drawer ; holds them up and 
laughs as he looks at them.) Dangerous property ! 

(Hears some one coming ; slips them wider robe on seat. 
Francis Hughes and Mason enter, c. Mason throws 
his hat itito a chair and both sit doivn and look disgusted.) 

Mason (as he drops into chair). Darn ! 

Hughes. Will some one kindly tell me what to do next? 

Field. For heaven's sake, what has happened ? I have to 
stay cooped up here and sling ink and rattle the ivories while 
you fellows have all the fun. 

Mason. Fun ? You can go out in my place in the morn- 
ing, and more than welcome. 

Field. Are we really going to have a row, Hughes ? 

Hughes. It looks very much like it, unless we stop work 
on the road. Malone seems to want trouble, and I don't under- 
stand why. He jumps at every possible excuse to make a fuss. 

Field. Oh, he's just naturally ugly. It's growing chronic 
with him. You wouldn't stop work on the road, would you? 

Hughes. Stop ? For a piker like Steve Malone? I thought 
you had worked with me long enough to understand me better 
than that. 

Field. I beg your pardon. I did know better. Of course 
you will fight it out, and I will fight with you when the time 
comes. 

Mason. And I. 

Hughes. Thanks, fellows. I appreciate your loyalty more 
than you can know. I needed a bracer and you have given it 
to me. I want to fight with you, not lead you, and I wish we 
had a good man to follow. For heaven's sake, why don't they 
hustle a manager out here from some direction? I am no 
more fit to fill this position ! Either of you would do twice as 
well, and it's mighty nice of you to be willing to take orders 
from me. 

Mason. Hughes, you shouldn't feel that way. We're 
mighty glad to have a man like you in the place to take orders 
from. 

Field. That's right, Hughes ! You are doing great work. 



THE GIRL FROM UPPER J g 

You are just the one to keep things going for McShane. You 
know the country around here so well, and half the time we 
don't know what we are doing and we just bluff it out. 

Mason (to Hughes). Did anyone tell you that McShane's 
son had come on from the East ? Arrived last night ? 

Hughes (with interest). No. Where did you get that? 

Field. Lewt Benson told me. 

( Walks to door, c. , and stands looking out. ) 

Hughes. Well, thank heaven if it's true. Say, our little 
servant hasn't shown up, has he ? 

Field. He has not. 

Hughes. I would give a good deal to know where he dis- 
appeared to all of a sudden. 

Field. Ah, here comes our little Noah's ark I 

Enter Noah Hawkins, c. 

Noah. You think that's funny, I suppose, but I tell you 
I'm getting awfully sick of it. It's bad enough to have a 
Jonah for a father without being related to the ark. 

Mason. There, Noah, forget it ! It isn't like you to be 
peevish. 

Noah. I can tell you what has become of your servant. 
He's working at Upper 7. 

All. What? 

Field. Well, leave it to me. I'll go up at the first oppor- 
tunity, and I'll make our almond eyed little menial see more 
stars than there are in the flag. 

Mason (to Noah). How do you know he is up there ? 
Have you been to Upper 7 ? 

Noah. No. Tokio brought me a message this noon to bring 
to Mr. Hughes, and he told me he was working there. I hope 
this isn't very important. (Hands Hughes a note.) This is 
the first chance I've had to come down. Dad went away this 
morning, and he left me enough work for sixteen men, and I 
couldn't leave without doing at least half the things I was told. 

Hughes. Of course not. (Opens the note and reads it.) 

Well — for What the deuce ? Is this message from Mr. 

McShane's son ? 

Noah. He hasn't any son. 

Hughes. Who is G. McShane ? 

Noah. His daughter. 



10 THE GIRL FROM UPPER 7 

All. Daughter ? * 

Noah. Yes. Genie, I think her name is. 

Mason. Do you know what you are talking about? Or 
are you just guessing at it ? 

Noah. Why, I know. I ought to know. I have talked 
with Miss McShane. 

Hughes. You have ? Well, will you kindly tell me if she 
is a little out in the upper story ? 

Noah. Well, I guess not so you'd notice it. 

Mason. What has she written to you, Hughes ? Do you 
mind telling us ? , 

Hughes. Not at all. It isn't of a private nature. Or if it 
is, it's so darned private that no one but herself knows the 
meaning. [Reads.) " My dear Mr. Hughes : — Sit tight and 
attend to your knitting and I will see you soon. G. McShane." 

All. What? 

Hughes. See for yourselves ! 

Noah. Yes, that sounds just like her. 

Mason. The deuce it does ! What's the matter with her? 

Noah. She's kind of queer. She told me her father wanted 
her to come down here and take charge of things until a mana- 
ger gets here from New York, or Boston, or some place. Any- 
way it's going to take about a week for him to get here, and 
the Lord help you while she is running things. Believe me, 
there's some female at Upper 7, and if she doesn't move you 
fellows around some. 

Field. Well, good-night ! How old is she? 

Mason. What does she look like ? 

Noah. Oh, she's about forty-eight or none, I should say. 
She's a tall, angular, broad-shouldered suffragette-looking lady, 
who looks as if she had a hand in ruling the universe. 

Mason. Well, I protest ! 

Field, (indignantly). What right has McShane to send her 
down here interfering in something she doesn't know anything 
about ? 

Hughes. Now, see here, fellows, she is McShane's daughter, 
and we certainly must show her respect no matter what she says 
or does. It can't last but a few days at the most, and probably 
Noah's imagination has run away with him a little. 

Noah. Wait and see ! 

Hughes. I don't know how you fellows feel but I for one 
want to hold down my job here. I certainly shan't get in 
wrong with Miss McShane if I can help it. 



THE GIRL FROM UPPER J II 

Noah. Better not. Take it from me. Say, I'm going to 
leave my books here and come back later. 

{Places some books on the table and exits, C.) 

Hughes. Heavens, I'm starved ! Ned, I guess it's about 
your turn to get dinner for us. 

Field. Well, you have another guess. 

Hughes. The first day Tokio stepped out I got the dinner, 
and the second day 

Mason. I did. 

Field. Yes, a swell feed you gave us ! A can of Camp- 
bell's chicken soup ! 

Hughes. And last night Mr. Blake officiated. It is cer- 
tainly up to you, Ned. 

Field. I tell' you there is nothing doing. I'm completely 
worn out, and 

(Hughes and Mason both rush to him and stand over him, 
threatening him.') 

Hughes. Like fun you are ! 

Mason. What do you think of us ? You are too lazy to 
live ! 

Hughes. I guess you will take your turn ! 

Field. I guess probably I will ! [Exit, R. 

Hughes (throwing himself down on seat). Gee ! I'm 
tired ! 

Mason. Don't say a word ! (Exits, l. ; returns with a 
box. He places the box on the table, c. ; pulls the table to l., 
leaving a clear stage. He sits down by table, opens box and 
takes out a lot of stockings.) Say, Hughes, can you lend me 
a pair of stockings ? 

Hughes. Lend you a pair ? You had better return the four 
pairs you have already borrowed. I am wearing the last pair 
of clean ones I am blessed with. Some of us will have to take 
a hand at washing if we can't find a new servant pretty soon. 

Mason. These are all clean, but Tokio vamoosed before he 
did the mending. 

Hughes. Aren't any of those yours? 

Mason. Yes, here's a pair ; but Great Scott (putting his 
hand through a large hole in the heel), I can't wear these. 

Hughes. Fill up the vacancies and you can. 

Mason. By Jove, I believe I'll try ! (Gets out a darning 



12 THE GIRL FROM UPPER "J 

needle and some cotton.) Say, I don't believe we appreciated 
Tokio to the full. He certainly was the handy little man to 
have around. Qee ! It's a good thing a darning needle has a 
large eye.* {Threads the fieedle with an effort.) 

E?iter Field., r., an apron tied around his neck, stirring a 
mixture in a bowl. 

Field. Say, you heartless wretches, you used up all the 
canned goods, and I'm having to make something. 

Mason {sticking the ?ieedle in his thumb). Ow ! Mother ! 
(Field, and Hughes laugh.) That's right ! Laugh ! It went 
pretty nearly all the way through ! 

Field, {stirring the mixture). , Say, have either of you fel- 
lows any idea if this is thick enough ? 

Mason. Let's have a look. 

{Crosses to Field., and Hughes follows. They look at the 
mixture with interest.) 

- Hughes. Heavens ! What an excruciating odor it has. 
Mason. What is it ? 

Field. Great Scott ! I don't know ' 
Hughes } ,. , 7 >. j Don't you know what you are 
Mason \ {together). | makhl g ? 

Field. No, I haven't the least idea. 

Enter Genie McShane, c. She is about eighteen ; very 
pretty ; full of life ; she is dressed strictly up to date and 
looks anything but in keeping with her surroundings. 

Genie. May I come in, please? 

{The felloivs stand staring at her in astonishment.) 

Field, {suddenly remembering his appearance). Well, I 
guess I'll be excused. {Makes a hurried exit.) 

Genie. I really hope you will pardon my intrusion. You 
see, I am lost, and I thought perhaps some one in here could 
tell me where I am. {Looks from one to the other.) Perhaps 
you can't after all. I don't know, though {walking up to 
Hughes), you look quite intelligent. Perhaps you can tell me. 
{Speaks very rapidly.) You see, you are here and I'm where 
you are, and if you know where you are you can tell me where 
I am. 



THE GIRL FROM UPPER J 1 3 

Mason (looking dazed). Why — you — I — we — you 
am I mean I are I 

Genie. You don't know where you are after all. It's too 
bad ; but never mind. 

Mason {indignantly). Why, of course I know where I am, 
and where you are, too, for that matter. You are in Sedhill 
County, at the foot of the Upper 7 trail. This is an old ranch 
house which is being used as an office of the new railroad. It 
also serves as— a— er— club for employees of the road. Does 
that help you ? . 

Genie. Oh, yes, thank you very much. If you don t mind 
I think I'll rest a few minutes. I'm glad this is an office. It's 
quite decorous to rest in an office, isn't it? (Sits down at 
table.) I might as well make myself useful while I ^ stay. 
(Takes up Mason's stocking and darns it.) You know just at 
first I thought this was a class in domestic science. It's too 
bad you haven't a sewing-machine here. It would be a whole 
lot easier to seam this up on a sewing-machine. (Speaks to 
Mason as she glances at Hughes.) Pardon me, but is this 
other young man a deaf mute ? 

Mason. Oh, no! He can talk and can also hear fairly 

well. __ . 

Genie. Isn't that nice? (Smiles at Hughes.) You know 
I'd just love to hear you say something. 

Hughes. I'm sorry if I have been lacking in courtesy, but 
to tell the truth you knocked every idea out of my head that I 
ever had or ever hope to have. There are very few young 
ladies living around here, and those few are not just like you. 
Would you mind telling us if you suddenly dropped into our 
midst from heaven ? 

Genie. O-o-o-o ! I knew I'd love to hear you talk. You 
have a splendid voice. It's a shame for you to remain silent so 
long at a time. You have paid me the nicest compliment I 
ever had. In my wildest dreams I never could hope to be 
likened to an angel. I must be improving. That will be joy- 
ful news to Ma and Pa and all the teachers I ever had. 

Enter Steven Malone, c. He is a rough-appearing ranch- 
man. 
Mal. {regarding Genie in astonishment). Well, I'll be 

hanged ! . , , T 

Genie. No doubt about that. You have just the look. 1 
don't believe you will have to wait long, either. 



I 4 ° THE GIRL FROM UPPER 7 

( Mal. {advancing toward Genie). Smart, ain't yer? 

(Hughes and Mason regard Mal. with apprehension, and 
hughes steps forward as Mal. ze/tf/^ /to£/^ Genie.) 

mT E ' T?uf*7}*} \ F* the ori S inal lktl e prize package. 

Mal. Huh! I didn't know you fellows had a caller 

Genie. 1 hey haven't. I'm not calling. I'm visiting. I'm 
perfectly at home and I think I shall stay for dinner 

Hughes (regarding Mal. anxiously). I think whatever you 
have to say, Malone, had better wait until a little later 

in JT^ * °u' n °J Let , him Sa ? k now ' rm sur e I should 

CX u£ He l00ks as if he might say such 

Mal. Wal, I don't know how interesting it'll be, but I am' 
going ter say nothin' it would hurt a Sunday-school teacher ter 
listen to. I jes want to say this, Hughes. You hev been 
running your tracks on Lower 7 land fer quite a spell back 
lo-morrow morning your men will take up those tracks ! 

IjEnie. You just bet they won't ! 

Mal Wal I'd like to know what in thunderation you've 
got to do with it? y 

Genie I guess you'll find I have considerable to do with 

this an?ir G McShane ' and rm representing my father in 

(Mason and Hughes regard her with both surprise and 
interest.) 

Mal. (with a sneer). Are you the new manager they've 
been telling about that was coming from the East? 

Genie. No, I'm not. He'll be here before long, and in 
the meantime Mr. Hughes will continue to run things here ■ 
and you can take this from my father, through me, that our 
men will go right on as they have started. 

Mal. Well, you can take this from me : if your men don't 
clear the tracks off Lower 7 land to-morrow morning, my men 
win go down to the road and you'll have one lively scrap. 

Genie. We'll be right there waiting for you. 

Mal. You want a fight, do you ? 

Genie. No, you are the one who wants it, and if you want 
it you can have it. We know what we are doing, and we are 
going ahead. 6 ' 

Mal. All right. You're some spunky for a gal, but I'll 



THE GIRL FROM UPPER 7 l S 

bet you'll be sorry before you get through that you run up 
agin' Steve Malone. 

(Mal. steps close to Genie. Hughes interferes^ 

Hughes. You have said just about enough. Now, get 
| \_Exit Mal., c. 

>U Genie. Great big, horrid thing, to come in here and talk 

to me that way. (Begins to cry.) 

Hughes) (together, as they ( Don't do that J 

Mason rush toward her). { Don't cry Miss McShane 

Genie (wiping her eyes on Mason's stocking, which she still 

holds in he/hand). All right. If you don't want me to, I 

won't Now, what will we do next ? 

Hughes. Don't you think, Miss McShane, that you took 

rather an unfair advantage of us ? 

Genie. Perhaps I did, but it was a lot of fun. You were 

so surprised. You are Mr. Hughes, aren't you ? 

{Shakes hands with him.) 

Hitches Yes (Introduces Mason.) Mr. Mason. 
llmTishakTng hands with Mason). And the domestic 

young man in the apron was ? 

Hughes. Mr. Fielding. !•«-.« 

Genie. Perhaps I haven't helped things any by making an 

enemy of Mr. Malone. 

Hughes. I'm afraid you haven t. 

Genie. Well, dad said not to let him frighten us Will 
you take me down on the road and explain things? Dad .tried 
to tell me, but the doctor won't let him talk much, and I m 
afraid I don't fully understand. . 

Hughes. There's really a manager coming to take your 

father's place ? 

Genie. Oh, yes, we're going to have a manager. 

Hughes. Would you mind telling me just what you meant 
by " sit tight and attend to your knitting " ? 

Genie (laughing at him). Well, you see, dad was worry- 
ing about ending you a message, so I told him I would send 
on! I suppose lit may have been a little odd, but it was all 

I could think of. - 

Mason How is your father, Miss McShane ? 
Genie ' Oh, poor dad is in pretty bad condition, I m afraid. 

It's strange how people where I am are always having nervous 



lD THE GIRL FROM UPPER 7 



prostration. I wasn't more than five when mother had it and 
when I went to- Madame* Morey's school, I hadn't beei there 
more than a month when she had it. Now dad's goHt and I 
) ffi ' ta £ 1 s £y around here very long one of you will W it 

Mason {looking after them for a minute; going to door r < 
Say, Ned, have you died out there ? ' s 'g 'o aoor, r. ;. 

Field {coming to door, K .). You think it is a great joke I 
suppose, for me to make a show of myself ! S f^it 

Enter Blake c. Blake should be represented as about thirty 
years old should be tall, quiet and dignified. He is 
quukly followed by Fawn-No-Feaid, a striking-lfolinl 

y cTs"Le SlrL ShS S ' WUld Wa " a W»- A*J 

lris L TLe^l°J w g i aS '„■ <F*™«*"s Blake's hand and 
IZi i 7 J l ' S f - e i- He Z ras t s her h *>>< <»-m and pre- 

forfetT {Speaking in a "f' ' l ™> drawl-,. Fawn never 

rJtf\ Y ° U have " 0thin § t0 remember as far as I'm con- 
HWt I told" 1 " 3 ' TtF'* to me again ' You »nd«Sa£d ' ? 
good as I am? V." V l 7° y T br ° ther aWd ? ou ar e just as 
Sw /, I 0X i ha ~ nt spoken t0 Mr - Mason. 

tofe:X ( le„XLr GreetinS ' "■*" ^ F ™ ■<*• 

Mason. Hughes ? 

Fawn. Yes. 

Blake. Where is he ? 

Mason. Gone down on the road 

feetTz'thlTor k T S ' She W J U Wait C' 83 * * B "^'s 
(ZJ! fl J, BLAKE Slfs down somewhat embarrassed 

s4 he ^r2d / -L Ab ." nt K br °, ther g ° eS With the fair ^aidfo 
see tne great road the white brothers build 

Ma*™ M~qu d0 f S sbe mean b y the fa ir maid ? 
night hane S daUghter - She came to Upper 7 last 

h j3LAKE {both surprised and startled). Genie McShane 

Mason. Yes. Do you know her? 
shoula K c E omeo k urh V ere. er '" *" EaSt brf ° re l ever drea ^ * 



THE GIRL FROM UPPER 7 1 7 

Fawn. The fair maid will know trouble. They are ene- 
mies at Lower 7 ranch. 

Blake. I'm glad you are friends with us, Fawn. I was 
talking with your father the other day and I'm afraid he 
doesn't like us very well. 

Fawn. You build the road and the big engine will come 
and bring the white people more and more. They push us on 
and on to the setting sun and there will be no place for the red 
children. Fawn and her father love the Eagle's nest. (Sud- 
denly jumps to her feet.) Listen ! Fawn will return ! 

[Exit , c. 

Blake (looking after her). Now, what in the world did 
she hear ? 

Mason. Give it up. She would hear a blade of grass 
shoot. (Laughs.) You are quite a hit with the red maid, 
Mr. Blake. 

Blake. It isn't funny, Douglas. It's sad. She imagines I 
saved her life once. I gave her some medicine when she was 
so sick she thought she was dying. I was up on the Eagle's 
nest and her father called me to their shack. It's a dreadful 
thing that a girl like Fawn should be brought up in such a 
way. 

Mason. How does she happen to have such a curious kind 
of an education ? She talks pretty good English, but she has 
an Indian way of expressing herself. 

Blake. Her father was a Carlisle graduate and he married 
a white girl. She died when Fawn was born and her people 
tried to take Fawn away from her father. He turned against 
the white race and brought his child out here and built a shack 
on the Eagle's nest. He has brought Fawn up as an Indian 
girl, with Indian beliefs and customs, and yet he has educated 
her in such a way that you wonder what she is. She should 
have been brought up among her mother's people. She is a 
very remarkable girl. (Mary, Noah andEzRA Simpson enter, 
c. They make a noisy entrance, all laughing, and Mary 
pushing them through the door.) Hello ! 

m \ (together). Good-afternoon, Mr. Blake. 

Blake. Well, Mary, you didn't go home after all? 

Mary. No, sir. I met Noah, and daddy said I could stay 
down if I wanted to until Noah was ready to go home. 

Ezra. Say, what do you think? Noah saw the Black 
Raider last night ! 



i8 



THE GIRL FROM UPPER J 



Blake. Really ? 
Noah. Yes, -sir. * 

Mary. ' And daddy went out and tried to catch him. I'll 
bet he gets him yet. 

Noah. I'll bet he does, too, and I hope I'll be there to 
help. 

Ezra. Have you heard the latest about him ? 

Mason. No. What's he been doing now ? 

Ezra. Robbed the Sedhill bank last night. 

Noah. And I saw him near our house. He has wings, I 
guess. 

Mason. He rides, of course ? , ' 

Ezra. Well, no one ever saw him on a horse. 

Blake. Well, if you boys are going to do any reciting we 
had better start in. 

(He crosses to table, l. Ezra and 'Noah follow him ; they 
take 7ip some books and are about to start in when Genie 
and Hughes enter, c.) 

Genie. Why, John Blake, I didn't know you were here. 
(Shakes hands with him.) 

Blake. Oh, yes, I have been here for many months. I'm 
glad to see you again, Genie. 

Genie. And I to see you. What are you doing out here ? 

Blake. Oh> teaching school through the week and preach- 
ing on Sunday. 

Mason. And acting as a brother to us fellows and a good 
Samaritan to every one for miles around. 

Blake. Oh, you exaggerate ! 

All. No, he doesn't. 

Enter Fitzhugh Montmerry-Loveland, c. He is a typical 
Englishman; walking-stick, monocle, and so forth. 

Mont. I say, pardon me. Will you tell me if I'm on the 

way to Upper 7 ? 

(Noah, Ezra and Mary double up with laughter. Blake 
tries to stop them.) 

Noah. Look who's here ! 
Ezra. Where did it come from ? 



THE GIRL FROM UPPER J IO, 

Genie {recovering from her surprise'). What do you want 
at Upper 7 ? 

Mont. Why, I have a letter of introduction to a chap by 
the name of McShane. A chap that's building a railroad, don't 
you know. 

Genie. I am his daughter. He is seriously ill, and you 
couldn't see him if you went up there. 

Mont. By Jove, I'm sorry to hear it. Perhaps under the 
circumstances I had better give you my letter of introduction. 

{Hands her the letter.) 

Genie. Excuse me. 

{Opens letter and reads it; shakes hands with Mont.) 

Enter Fawn, c. 

Fawn (/<? Hughes). Greeting, white brother. Fawn brings 
a warning. The white chief at Lower 7 ranch plots to bring 
trouble to the white brother. 

Hughes. I suspected something of the kind. It's real 
thoughtful of Malone. What's the matter with him ? 

Fawn. Fawn thinks he loves the Mountain Rose. 

Hughes. Miss Hawkins ? Well, I'm willing. 

Noah. Well, I'm not. He can keep away from my sister 
if he knows where his head's level. 

Ezra. Perhaps I ought not to mix in this, Hughes, but 
Malone runs of an idea that you like the Mountain Rose pretty 
well yourself. 

Hughes. Well, of all Say, where do you stand in 

this affair, Ezra? 

Ezra. I work for Malone and that's the end of it. You 
fellows have been great to me from the first day you came here. 
I join with Malone in no fight against friends. 

Hughes. Thank you, and thank you, too, Miss No-Fraid. 

Mont. Did I understand her to say Lower 7 ranch? 

Hughes. Yes. 

Mont. Isn't that — er — Lord Loveland's property? 

Hughes. Yes. 

Mont. A very dear friend of mine. 

All. He is ? 

Mont. Yes. 

Blake. Where is he? Malone says he is traveling, and he 
doesn't know where he is. 



20 * THE GIRL FROM UPPER 7 

Mont. Yes, quite right. He's gone on a long journey. 

Blake. And you couldn't possibly communicate with him ? 

Mont. Dear me, no ! Quite impossible ! 

Blake. Well, I wis}} we could get at him. This continual 
row with Lower 7 isn't at all to my liking. (Telephone rings. ~) 

Hughes {going to telephone'). Hello ! Yes. Just a min- 
ute. Douglas ! 

Mason (going to telephone'). Hello! What? (Pause.) 
What ? Why, great Scott ! Good heavens ! {Hangs up the 
receiver-.) Murder ! Help ! Police ! 

All. What's the matter ? What has happened ? 

Mason. Why, I have received a message that my aunt, my 
sister, five girls and a French maid have come on from the 
East and are on their way out here to visit me. Tom McShane 
is also with them. ' 

Genie (in astonishment). My cousin Tommy ? For pity's 
sake, what is he coming for ? 

Hughes. Great Scott, Douglas, couldn't you head them off ? 

Mason. No. They telephoned to Scaling at the road office 
to let me know they were half-way out here. 

Hughes. Well, go on down and meet them and we will 
clean up here and do our best to get ready for them. 

All. Sure ! That's right ! Go ahead, Douglas ! 

Blake. You go with him, Ezra. They will have to walk 
part of the way, and they probably will have some luggage. 
(Mason and Ezra exeunt ', c.) What a mess ! This is a nice 
place for ladies to come ! 

Hughes. Oh, cheer up ! Think of it ! Girls coming here ! 
We will have to get busy and entertain them in great shape. 
We can have a dance to-night. I haven't danced for three 
months. 

Genie. That's the right idea, Mr. Hughes. If they are the 
right kind of girls they will make the best of the situation and 
enjoy themselves. 

Hughes (getting enthusiastic). You must stay, Noah, and 
Rose and Mary, too. 

Noah. Well, that depends on dad. 

Mary. Oh, don't worry ! I'll fix dad. We'll stay. 

Field, (sticking his head in the door, r). Dinner's ready 1 

Mont, (regarding him in astonishment). Dear me ! 

Hughes. Oh, hang dinner ! Some of you go in there and 
work (pointing l.), and some of you out here. 

(Exits, r. Noah and Genie follow him.. Mary exits, l. 



THE GIRL FROM UPPER J 2I 

Blake picks up some papers, straightens out the chairs, 
tables and so forth ; exits, l.) 

Enter Rose, c. She is followed by Mal. 

Mal. Rose ! 

Rose. What is it, Mr. Malone? . 

Mal. (scornfully). Mr. Malone ! Mighty stiff with a fel- 
low ain't yer? (Glances about uneasily.*) My company s 
mkhty unwelcome here, but 1 would follow you anywhere 
Say, there's something I want to say to you. {She moves away 
from him.) Rose, why do you always turn away from me ? 

Rose. I don't approve of the things you do. f 

Mal. No, you prefer some snob like Hughes. You re 
mizhtv fond of running up here, ain't yer? 

Rose. How contemptible you are ! (Glances toward door, 
l.) Some one is coming ! Go, quick 1 Before you get into 

^ullZomng toward door, a). I'll go, but I'll I see you 

later. We are going to have this out ! l&xtt, c. 

Enter Mary, l. 
Rose. Mary ! Where have you been ? I have been hunt- 
ing for you about an hour. 

Enter Jonah Hawkins, c. 

Haw Wal, what in tarnation are you gals doin' here? 
Hain't I told you, Rose, I didn' want you chasm here? 

Rose. Father, I never came here but once or twice, and 
then I had to come. 

Haw. Wal, what are you dom here now t 

Mary She came after me. For goodness sake, dad, any 
one would think we were about five years old. Supposing 
Rose did come. What of it ? It's a pile of fun to come here, 
and I'm coming any time I please. 

Rose Mary ! 

Haw.' (weakening). Wal, come along home now, anyway 

Mary. Home ? I don't expect to go home before twelve 

o'clock to-night. 

Haw What in tarnation do you mean ? 

Mary. Just that. There's going to be a dance here to- 
night and I'm going to stay. 

Haw. A dance ? You don't know how to dance ! 



22 THE GIRL FROM UPPER 7 

Mary. Well, I'm going to learn to-night. 

Haw. Who in tarnation is going to dance ? 

Mary. Some people who are coming out from the city, and 
we are all invited. Rote, and Noah, and me, and p'raps 
they'll let' you dance too, dad. 

Haw. Me dance ? Land o' Goshen ! Now, see here ! I 
ain't goin' ter hev none o' my family 

Mary {breaking in violently and jumping up and down) 
Yes, we are, too ! We are, too ! We are, too ! 

Haw. What ails young folks nowadays? All they want 
ter do is galavant around and enjoy themselves. 

Mary. Enjoy ourselves? I wish we ever had a chance. 
All you think we ever ought to do is stay at home and wash 
dishes and study. You never give us any fun at all ! {Cries.) 

Rose. Mary, how can you, when father does so much for 
you ? 

Haw. {patting Mary on the shoulder). There, now, child, 
don't cry ! Stay if you want to ! Gosh all Cassar, we'll all 
stay ! 

Mary. Oh, goody, daddy ! {Grabs him and whirls him 
around.) I knew you would ! Everybody's cleaning up and 
trying to cook something. Come on out and help them! 
They need lots of help ! 

(Pulls Haw. through door, r. Rose follows.) 

Enter Blake, l. ; crosses stage and exits, r. He carries a 
broom, a duster, a lot of papers and so forth. Ezra 
enters, c. He carries two suit-cases. 

Ezra. Here we are, Mrs. Brent. 

Enter Mrs. Susan Brent, c, accompanied by her daughter, 
Genevieve Brent. Susan should be represented as about 
thirty-five : a society wo??ian strictly up-to-date in every 
way. She uses a lorgnette constantly. Gen. is about 
ten, patterned after her mother, old far beyond her years. 
Mason follows them carrying two suit-cases. Ezra 
carries the suit-cases out, l. Peenters a?id exits, r. 

Mason {placing a chair for Susan). Yes, here we are, 
Aunt Susan. You are tired, I know. 

Susan. That doesn't matter in the least. 

Gen. {looking about in surprise). Where is this we have 
come, mother? 



THE GIRL FROM UPPER J 2$ 

Susan. Darling child, I don't know and no one takes any 
trouble to explain. 

Mason. I have been trying to all the way up but you 
wouldn't listen. This is where we fellows are living and the 
only place I have to invite you to. If you had sent a message 
directly to me some time ago I would have explained the situa- 
tion and stopped you from coming out here. 

Susan. The girls had an extraordinary idea of giving you 
a surprise. I fear they are the ones who will have the surprise. 

Enter Tom McShane, C. He is about eighteen, a typical col- 
lege freshman, full of life ; hardly stands still two minutes 
at a time. 

Tom {taking a look around the room ; calling out from c. 
door). Come on in, girls ! It's even worse inside than it is 
out! 

Enter Octavia Brent, Muriel Lee, Irene Gordon and 
Flossie Mason, c, followed by Fleurette, a French 
maid. Fleu. is very pretty and very pert. The girls 
are about eighteen to twenty and wear summer dresses, 
straw hats. 

Irene. Oh, what a place ! 

Fleu. (looking about). O-o-o-o ! Zis is ze worse zat I 
heev ever see in zis dreedful countree ! O-o-o-o ! I faint ! 
I faint ! 

Tom (catching her and placing her in a chair) . Hold on ! 
Steady, Fleurette ! 

Girls (gathering around her). I don't wonder ! The poor 
thing ! Are you all right, Fleurette ? 

(Fleu. recovers and the girls drop into chairs and look pretty 
thoroughly used up. Tom sits doivn by Mur. and talks 
to her constantly. Oct. takes a mirror from her vanity 
bag and begins to examine her face and hair.) 

Irene. What a queer looking place this is ! Where in the 
world are we ? 

Gen. Mother, do we stay over night here ? 

Susan. Darling child, I don't know. Your poor mother 
never knows one day what she is going to do the next. 

Flos, (to Mason). Of course, Douglas, you are surprised 
to have us come so unexpectedly ? 



24 THE GIRL FROM UPPER 7 

Mason. Staggered, n^y dear sister. 

Irene: But you are pleased, aren't you ? 

Mason. Almost tickled to death. 

Irene. Did I understand you, Mr. Mason, that there is no 
hotel out here ? 

Mason. Not even a boarding house where you could think 
of going. 

Oct. O-o-o-o-o ! I've burned my nose. I knew I should 
when the sun was so blazing hot this afternoon. Fleurette, 
some powder ! 

(Fleu. hands her a box. Oct. powders her nose. Fleu. 
takes the powder ; stands back of Oct.' s chair and covers 
her face with powder.) 

Susan. Am I to understand, Douglas, that we shall be 
obliged to stay over night in this dreadful place ? 

Mason. There is no other place. 
* Susan. To think that I should ever come to this ! I was 
insane, quite insane when I agreed to chaperone the girls on 
such a trip. (Suddenly catches sight of Fleu.' s face.) Oh, 
Fleurette ! She's dying ! She's positively ghastly ! 

All (rushing to Fleu.). What? Gracious! 

Oct. It's nothing but some of my powder/ 

Fleu. Pardon, madame ! I forget ze powder ! 

Susan (sitiking back in her chair). I have made up my 
mind to be resigned to my fate. Nothing will convince me 
that I shall not be scalped and lynched in my bed to-night. 

Tom. Oh, no, Mrs. Brent, you will have to get out of bed 
before they can lynch you. 

Gen. And it won't hurt you to be scalped, mother dear; 
you have so little hair that's your own. 

Mason (choking). Excuse me ! I'll speak to Miss Mc- 
Shane. [Exit, r. 

Susan (fixing Tom with a haughty stare ; he is flirting 
with Mur.). Mr. McShane, sit on the other side of the room, 
please. 

Gen. (as Tom crosses toward her). Don't sit near me, I 
beg of you. You get on my nerves terribly, and I feel as if I 
had stood about all I am equal to for one day. 

Enter Genie, r. 
Genie. Tommy, it's a surprise to see you out here. 



THE GIRL FROM UPPER J 25 

Tom {shaking hands with her). Yes, I suppose it is. {In- 
troduces Susan.) Mrs. Brent. 

Susan. How do you do ? 

Tom {starting to introduce the girls'). And let me pre- 
sent 

Genie. Oh, don't go through all that, Tom. {Shakes 
hands with the girls.) Let's just pretend that we have been 
introduced. I suppose this place looks dreadful to you, girls, 
but it's a whole lot nicer than it seems and we are going to 
have a dance to-night. 

All. A dance ? Really ! Joy ! 

Susan. Miss McShane, I protest. At every hotel I have 
been obliged to sit up until twelve o'clock while your cousin 
taught the girls the most extraordinary performances which he 
called modern dances. He apparently has no bones whatso- 
ever, and his feet are strung on wires. I have seen enough 
dancing in the last two weeks to last me for the remainder of 
my days. Is there some place where we can clean up a little 
and rest ? 

Genie. Yes. Right in this way. {Leads the way, ~l.) 

Susan. Come, girls. {Girls exeunt, l., followed by Fleu.). 
Miss McShane, your cousin has been a great trial to me. I 
have regretted many times that I told your uncle I would bring 
him out here. He does nothing but flirt with little Miss Lee. 
I regret to tell you that he has disgraced your family. 

[Exit Susan, l. 

Genie {looking at Tom in surprise). What on earth have 
you done, Tommy? 

Tom. Just nothing at all, Genie. I got expelled from Yale, 
and 

Genie. Expelled from Yale ? You? {Scornfully.) What 
for pity's sake did you do, Tom ? Put a tack in the president's 
chair ? 

Tom {indignantly). Oh, forget it, Genie. You think I'm 
a huge joke, don't you ? 

Genie. That's all you ever have been. I'm sure I don't 
know what to do with you. I suppose uncle has sent you out 
here for father to take care of. Well, father has nervous pros- 
tration, and I don't know what he would have if he should see 
you. Goodness knows I have faced enough in the last two 
weeks without having you on my hands. You certainly are the 
final straw. (Blake and Mont, enter, r.) Mr. Blake, my 
cousin, Tom McShane. Mr. Montmerry. 



26 THE GIRL FROM UPPER J 

Blake . {shaking handsaw ith Tom). I'm glad to meet you. 

Mont, (shaking hands with Tom). Delighted, I'm sure. 

Genie {taking her hat from the table and putting it on). 
It's dreadful, John, but I'm afraid I shall have to leave Tom 
here as well as Mr. Montmerry. I simply can't take company 
up to the house. 

Mont. Certainly not. After the festivities I will — er — find 
accommodations elsewhere. One of the young men mentioned 
— er — Mrs. Casey's, I believe. 

Enter Fawn, c. 

Blake. You mustn't go back alone, Genie. It was bad 
enough for you to find your way down here alone. 
Fawn. Fawn will go with the fair maid. 
Blake. That won't do. I will go with you both. 
Genie. No, you are needed here. 
Blake {going to door 7 r., calling). Boys ! 

Enter Hughes, Field., Ezra and Mason, r., followed by Haw. 

Ezra. What's wanted, Mr. Blake ? 

Blake. Some one to go home with Miss McShane and 
Fawn. 

All. Sure ! 

Blake. One will do ! Ezra, I guess you had better be the 
one. 

Mason. You will surely come back to-night, Miss McShane ? 

Genie. Yes, if father is all right. 

Enter Mal., c. 

Mal. {pointing to Hughes). Mr. Hawkins, arrest that 
man ! 

Mont, {putting his mofiocle in place). Dear me ! 

Haw. Arrest Hughes ? What in tarnation would I do that 
for? 

Mal. Lower 7 ranch was robbed of five hundred dollars 
last night. I suspect Hughes of being the Black Raider. 

All. Ridiculous ! Nonsense ! What do you mean? 

Haw. Wal, I guess before I arrest him you will hev to give 
me something more solid than suspicion to go on. 

Mal. Well, what's he out every night for? Answer me 
that ! 

Mason. Go chase yourself, Malone ! I've worked here 
with Hughes for months, and he's never been out a night. 



THE GIRL FROM UPPER 7 27 

Haw. You'd better get out, Steve. You don't know what 
you are talking about. 

{Unnoticed by the others, Rose e?iters, r., and stands in the 

background.') 

Mal. You, Simpson, come out o' here ! You ain't no 
right here. Get back to Lower 7. I got some work for you 
to do. 

Ezra. All right. I'm going to Upper 7 with Miss Mc- 
Shane. Then I'll go back and work for you if you need me, 
but I want you to understand this. I'm coming back here to- 
night. 

(Genie, Ezra and Fawn exeunt, c. After a slight pause 
Mal. exits , c. He is too angry to say anything more.) 

Hughes (breaking an awkward pause). Fielding, I'll pro- 
tect you from Malone, but you had better give us an explana- 
tion. Malone has made a mistake in his man. You are the 
one he means. Where were you last night and for a good 
many nights before that ? 

Field. I'm sorry, Hughes, I can't tell you. (Looks around 
at the others.) Surely, you don't think that 

Blake (quickly). Of course we don't, but you must realize 
that the situation isn't a pleasing one. If you would just ex- 
plain to us. 

Field. I'm sorry, Mr. Blake, I can't. 

(There is an awkward pause. They all regard Yield, un- 
easily.) 

Mason (nervously). Well — well — come on ! Let's finish 
cleaning up ! 

(They all exeunt, r., leaving Field, standing alone. Rose 
goes quickly forward.) 

Field, (looking up surprised for a second). Well, Rose, 
do you think that things look black for me ? Do you believe 
that 

Rose (interrupting). You know that I don't believe any- 
thing against you. You know that I think you are true blue. 

Field, (joyfully as he takes both her hands). Well, then, 
I don't give a hang what any one else on earth thinks ! 

CURTAIN 



ACT II 

SCENE. — The same as in Act I. 

{ The room has been straightened out. The walls are dec- 
orated with college flags and so forth. Fleu. stands lean- 
ing against the door, C, looking out.) 

Susan {outside). Fleurette ! Fleurette ! 

Oct. {outside). I say, Fleurette ! 

Flos, {outside). Fleurette, bring me some water ! 
. Susan {outside). Fleurette, will you hurry ? 

Fleu. {still leaning against door). I ees a-hurryin'. 
( Walks deliberately toward door, r. ; calls.) Meester Mason ! 
Oh, Meester Mason ! 

Enter Mason, r., carrying a pitcher of water and a towel. 
Mason, Hughes, Field., Noah and Ezra can change 
from western clothes to summer suits, white trousers, blue 
coats. 

Mason. What's the matter now ? 

Fleu. Mees Brent she vish some towels, an' Mees Lee she 
vish some water. 

Mason. Well, here you go ! 

{Hands her the towel and pitcher.) 

Fleu. Von towel for seex ladees an' eet ees vet at zat. 

Mason. Well, you are lucky to get one, and no wonder it 
is wet. It has been washed and ironed within ten minutes. 
They must think I am running a hotel here ! 

(Fleu. exits, l. Mason exits, r.) 

Enter Haw., Rose and Mary, c. Rose and Mary wear 
simple muslin dresses. 

Haw. {sitting down in a chair). There ! I hope you gals 
are satisfied. Walked your poor old father clean up to the 
house and back jest so you could spruce yourselves up. I'm 
plumb tuckered out. 

28 



THE GIRL FROM UPPER J 20, 

Mary. Oh, you'll live through it, dad. (Looks about.) 
Doesn't it look nice here? 

Rose. Yes, it does. (Crosses to Haw.) I'm sorry if you 
are tired, father, but you surely didn't expect us to stay here 
to a party dressed as we were. 

Haw. I'd like to know why not ? You looked plenty well 
enough. Plenty well enough. 

Mary. That's your opinion, dad, but you don't count. 

Haw. Now see here, Mary, I ain't goin' to hev you talkin' 
ter me that way. One of these days I'm goin' ter put my foot 
down, and you'll wish I hadn't. 

Mary. I should worry, dad. I've been watching your foot 
for ten years and I always get mine down first. What's the 
use of pretending you don't care how we look? You know 
you are just as proud of us as we are of you. We've got the 
best father in the whole West, and you know you have got 
awfully nice children. Rose is the prettiest girl on earth, and 
I ain't far behind. 

Rose. Oh, Mary I 

Haw. I guess it ain't a mite o' use to say "Oh, Mary." 
She suttinly is the beatenst young one a man ever had. My 
backbone is jes' like a piece o' putty when she gets a-goin'. 
Come along out and see if we can do anything more to help. 
I'm suttinly sorry for the boys that Mason's Aunt Susan has 
come. She 'pears ter me as if she could upset a house con- 
siderable. 

Rose {follotving him out, r.). Yes, she doesn't seem like 
any one's Aunt Susan, does she ? 

Enter Ezra and Noah, c. 

Ezra. Back again, Mary? 

Mary. Yes. Don't I look nice ? 

Ezra. That's what. 

Mary. Where have you been? 

Noah. Out on the hill reciting to Mr. Blake. There 
wasn't time nor chance to do it in the house, so we did it 
outside. 

Ezra {throwing a book on the table). This is his book. I 
don't want to make a mistake and lug it off again. 

Noah {taking it up). What is it? {Reads.) "Romeo 
and Juliet." Is it good ? Perhaps he will let me take it. 

Ezra. Sh ! Hush ! You don't want him to do anything 
of the kind. Don't say a word to Mr. Blake, for he's terribly 



30 THE GIRL FROM UPPER 7 

gone on the chap that wrote it, but it's the dullest thing you 
ever struck, and the people hand each other the dippiest line 
of talk. There's a girl in love with an acrobat chap and he's 
afraid of her father, so he does all of his love making climbing 
up the side of the house and clinging to a balcony by his 
teeth. 

Mary (much interested'). Goodness, how does he talk, 
Ezra ? 

Ezra. He doesn't talk. He just murmurs airy nothings. 

Mary (grabbing the book and running out, a). Oh, I'm 
going to read it ! 

Enter Blake and Hughes, r. 

Hughes (looking about). We have done pretty well at 
fixing up, haven't we? 

Blake. Yes, I think we have. 

Hughes (looking at the flags). Which is which? 

Blake. College, you mean? (Points to a Harvard flag.) 
This is mine. It also happens to be Mason's. Yale is Field- 
ing's. See here, Noah, when are you going to ask your father 
to send you away to school ? 

Noah. Never. I should never live through it. Dad would 
finish me with the first glance. 

Hughes. I would like to finish you with a glance. What 
kind of yarn do you think you told us about Miss McShane ? 

Noah. Well, if little Noah's ark got even for once I'm 
glad. 

Blake. Better get after your father, Noah. You are doing 
good work with me. It's too bad for you to stop. 

Hughes. That's right. Better get after him if there's any 
possible chance for you. I'd give all I ever hope to possess to 
be able to say that one of these flags is mine. 

Enter Mont, and Haw., r. 

Mont. I say, I'm deucedly interested in this Lower 7 
ranch down here, don't you know ? Is it true that you have 
your tracks on their land, or is it so much bally nonsense, 
don't you know ? 

Hughes. We don't know, Mr. Montmerry. 

Haw. I reckon it's the kind of — er — nonsense you men- 
tioned. Do you think, Ezra, that Malone intends ter kick up a 
rumpus to-morrow ? 



THE GIRL FROM UPPER 7 3 1 

Ezra. Yes, I think he does. 

Mont. You are well acquainted with Mr. Malone ? 

Ezra. I work for him. 

Hughes. And I don't see why. It's perfectly absurd for a 
fellow like you to be working with the Lower 7 gang. 

Ezra. Oh, I don't have to associate with the rough crowd 
very much. There are some of the boys over there that aren't 
so bad, and Malone is a good man to work for. Besides, I am 
really working for Lord what's-his-name. 

Mont. Lord Loveland. A fine chap, I assure you. 

Blake. If you could locate him you would be doing the 
road a great favor. 

Hughes. We have been trying, but we haven't met with 
much success. Malone pretends he doesn't know where Love- 
land is, but I think he is lying. 

Mont, Oh — er — I don't know about that, really I don't. 
He went unexpectedly on a long journey, and I don't think 
any one really knows where he went. (Laughs to himself.') 
Really, I don't, don't you know? Ha, ha ! Not really, don't 
you know ? Ha, ha ! 

Ezra (to Noah). Gosh ! I hope he is having a good time 
with himself ! 

Mont. Do you — er — think Mr. Malone is efficient in his 
position as manager of the ranch, don't you know ? 

Hughes. Yes, he is. He certainly knows what he is 
doing. 

Haw. (fanning himself with his hat). Gosh all Csesar ! 
I'm smothered in here ! Let's go outside and get a breath 
o' air ! 

Mont. Deucedly good idea, don't you know ? 

(All exeunt, c., excepting Blake and Tom, who enters, R., 
and walks to C. door where he stands looking out.) 

Blake. As well as I know your family, Mr. McShane, I 
don't seem to remember anything about you. 

Tom. That's not strange. I have been away at school the 
most of my life. (Turns from door and walks toward 
Blake.) Say, Mr. Blake, will you talk with me for a few 
minutes? I — I need some advice and I don't know exactly 
where to look for it. 

Blake. Certainly. Sit down, won't you? 

Tom (taking a chair near Blake). My uncle is pretty sick, 
isn't he? 



32 THE GIRL FROM UPPER 7 

Blake. , Yes, he is. * 

Tom. Well, I have been sent out here to him, and now I 
am here I can't ever see him. Genie is disgusted to death 
because I am here. She never had any use for me. It was 
always. "Run away and play, little boy," with her. My father 
went abroad on a business trip to-day and my mother is with 
him. My home is closed for some months to come and I can't 
go to Upper 7 because uncle is ill., What would you do if 
you were me ? 

Blake. Why were you sent out here ? 

Tom. Well, I got into trouble at college. Nothing very 
serious, just a small affair, and father could have got me back 
again if he would, but he wouldn't. That's my father. He 
said I wasted my opportunity and didn't deserve another. 

Blake. Well, that's true, isn't it ? 

Tom. Yes, sir, I suppose so, but it's mighty hard on a 
fellow to have just one chance. 

Blake. Well, now, if I were you I should prove to the 
family that I was worthy of a second chance. You were to 
work for your uncle, weren't you ? 

Tom. I suppose that was the idea. 

Blake. Well, there's no manager here just at present and 
your cousin is practically in charge. That may sound absurd, 
but it happens to be the case. Hughes acts as manager, but 
she represents your uncle until the new manager gets here. 
Ask your cousin for a job and go to work. 

Tom. Ask Genie? I can't quite see myself. There's no 
love lost between Genie and me. Heavens, wouldn't she lord 
it over me if she had a chance like that ? She fairly despises 
me. 

Blake. I think you misjudge Genie. As for her despising 
you, according to your own story, your own parents are dis- 
gusted with you. I should think it was pretty good sense to 
make yourself square with some member of the family. 

Mason {outside). McShane ! 

Tom {calling). Yes? {Walks toward door.) 

Blake. Think it over and if I can think of any better ad- 
vice I will give it to you. 

Tom. Thank you. [Exit, c. 

Enter Fawn, c. 

Blake. Fawn, back again already? How do you get 
around the way you do ? Did you go way home ? 



THE GIRL FROM UPPER 7 33 

Fawn. Yes. Fair maid sends a message to the white brother. 
White chief at Upper 7 rests well. Fair maid comes to dance 
if white brother sends for her. 

Blake. All right. I'll go myself. Have you been way to 
Upper 7 as well as the Eagle's nest ? 

Fawn. Yes. 

Blake. You have wings hidden somewhere, Fawn. 

Fawn {coming close to Blake). White brother likes the 
fair maid ? 

Blake (uneasily). Yes, very much. She comes from my 
home in the East. Her people know my people. She went to 
my church there just as you go to my church here. You un- 
derstand ? 

Fawn {regarding him intently). Yes, Fawn understands. 

Blake (turning away impatiently). Yes, you understand 
altogether too much. Your powers of perception are over- 
developed. (Suddenly turns toward her.) Fawn, what do 
you know about the Black Raider ? 

Fawn (looking at him suspiciously). You think Fawn 
knows the Black Raider ? 

Blake. I couldn't say as to that, but I'll wager almost any- 
thing you know more about him than any of the rest of us. 
What do you know, Fawn ? 

Fawn (making a guttural sound with a half shrug). Ugh ! 

Blake. Oh, all right, if you feel that way I might as well 
save my breath. I can only say this, Fawn. You are our 
friend. We are your friends. You could help us by telling 
what you know. 

Fawn. Ugh ! 

Enter Field., r. 

Blake. Ned, I'm going to Upper 7 to bring Miss McShane 
down here. She has sent a message that her father is well 
enough for her to come. 

Field. That's good. I like her. She is a terrible jollier, 
but I'll bet way down deep she is a good deal like her father, 
and I've always admired Mr. McShane very much. 

Blake. Yes, she is a good deal like her father. I guess she 
is also a good deal like you. Way down deep she is all right, 
but she isn't inclined to let people know about it. 

Field. Then you honestly believe I am all right? 

Blake. I honestly do, Ned, but I can't imagine what you 
are up to. Why won't you tell us? 



34 THE GIRL FROM UPPER 7 

Field* I will some tithe. 

Blake. All right. I will try to be satisfied with that. 

[Exit, c. 

Fawn. Why don't you tell the white brother? 

Field. Tell him what ? 

Fawn. About the Black Raider. 

Field. What do I know about him ? 

Fawn. Everything. 

Field. You think so ? 

Fawn. Fawn knows. 

Fkld. Is that so? Well, aje you going to give me away? 

Fawn. Fawn never betrays her friends. Listen ! White 
chief at Lower 7 goes out again to-night. 

Field. Yes, I'll bet he does. Malone is the busiest man 
on record. Well, I'll be there, too, if I have to miss the dance. 
Do you know where he goes ? 

Fawn. To the home of the Mountain Rose. 

Field. Up to the Hawkins' ? Well, hasn't he a nerve ! 

Fawn. He will steal from the father of the Rose, and then 
prove that Hughes did it. 

Field. Prove that he did it? 

Fawn. He lays his plans well. 

Field. I should say he did. Darned well ! I don't see 
how you know so much about it. I thought I knew a good 
deal, but you have me beaten a mile. Who is helping Malone ? 
Do you know ? 

Fawn. Yes. 

Field. And you will tell me ? 

Fawn (turning away). No. 

Field. Oh, say, Fawn, please ! 

Fawn. No ! (Looks toward door, L.) Some one comes ! 

[Exit, c. 

Field, (following her). Wait, Fawn ! Just a minute ! 

Irene (coming to door, l.). No, there isn't a soul here. 
Do come out where we can have a chance to turn around. 

Enter Irene, followed by Gen., Oct., Flos, and Mur. The 
girls wear evening dresses. 

Oct. Yes, do ! I'm crowded to death in there. 

Mur. (going to the door). And hot ! 

Gen. Do you suppose it is always as hot out here ? 

Efiter Fleu., l. 



THE GIRL FROM UPPER 7 35 

Oct. I should hope not. I never felt such blazing sun in 
my life. Just look at my nose. My beauty is completely 
spoiled. Some more powder, Fleurette. 

(Fleu. hands her some powder.*) 

Irene {trying to fasten her dress in the back). Fleurette, 
see if you can hook my dress. I've nearly broken my arms. 
This is the most awful place out here. I'm scared blue. 

Fleu. Oui, eet ees fearful. Mine secon cousine, he come 
out to dees dreedful countree an' he was murder by von mans 
who keeps a ranch. 

Irene. Murdered ? 

Fleu. Oui, mademoiselle. I faint when I zink of eet. 

Flos. Well, don't think of it just now. I want you to ar- 
range my hair. You girls make me terribly tired. I think it is 
great fun out here. 

Oct. There are some good-looking young men out here 
anyway, and they interest me more than anything else. 

Mur. Mr. Montmerry, for instance. 

{Girls all laugh.*) 

Gen. Isn't he the limit ! 

Irene. He's the most distressed-looking young man I ever 
saw in my life. 

Flos. Yes, he looks as if he had his shoes on the wrong 
feet. 

Enter Tom, c. Gen. goes up to him. 

Gen. Mr. McShane, I think you have given about enough 
attention to the big girls, and it's about time you gave some 
to me. 

Tom. Why, certainly, Genevieve. 

Gen. Pardon me, but when did I give you permission to 
use my first name ? 

Tom. I beg your pardon, Miss Brent. What can I do for 
you? 

Gen. I think I should like to learn the fox- trot. 

Tom. Oh, why certainly. Delighted. It goes this way. 
I go forward. You backward. Two long steps, four quick 
ones. You get the idea ? 

{He does the steps.) 



36 THE GIRL FROM UPPER 7 

Gen. I think so. 

Tom. Then, you take two long ones, hop and kick back 
and one, two. {Illustrates as he talks.} Now, would you like 
to try? 

Gen. I don't know that I care to, after all, thank you. I'm 
afraid I might look as foolish as you do. 

(She exits, l., leaving Tom staring after her. The girls all 
laughing at him.} 

Tom. Well, I'll be 



Enter Fawn, c. 

Fawn. Greeting, white sisters ! 
Girls (running to her). Oh, look ! 
Mur. An Indian girl ! 
Irene. Isn't she dear? 
Oct. Who are you ? 
Fawn. Fawn-No-Fraid. 

Tom (getting interested). Where do you live? 
Fawn. On the Eagle's nest. 

Irene. Oh, aren't you lovely? Talk some more, will you, 
please ? 

(Fawn looks uncertainly from one to the other.) 

Tom (helping her out). Why did you come ? 
Fawn. Fawn brought a message to the white brother. 
Mur. Oh, isn't that swe-eet ! 

Flos. She has such a quaint way of expressing herself. 
Do say some more. 

Enter Susan, l., followed by Fleu. 

Susan (catching sight of Fawn). Oh, help ! Help ! 

(Sinks down in a chair. Mason hurries in, R.) 

Mason. What's the matter, Aunt Susan ? 

Susan. A wild Indian ! 

Fleu. Oh, I faint I I faint ! 

Tom (catching her). Well, I wish you would faint at some 
other fellows for a change. 

Mason. Why, Aunt Susan, this is Miss No-Fraid, and she 
certainly is as harmless as any of the girls. 



THE GIRL FROM UPPER 7 07 

Fawn (to Susan). Greeting ! Fawn will return. 

T Exit c 

Flos. I don't wonder she wants to get outside. Such a 
howl about nothing. 

Susan. Flossie, I fear you forget yourself at times. 

Mason. You girls are ready, aren't you ? I will speak to 
the bovs - [Exit, c. 

Susan (to Tom, who is flirting with Mur.). Mr. Mc- 
Shane, sit on the other side of the room, please ! Merciful 
heaven ! To think that I should be called upon to chaperone 
a party of cut-throats and desperadoes ! 

Tom. Oh, Mrs. Brent, draw it mild. I think there is a 
pretty fine crowd of fellows out here. 

Susan. Girls, I want you to keep close to me all the even- 
ing. My hair will be quite white before I leave this dreadful 
place and the dreadful people in it. 

Oct. Oh, mother, how ridiculous. 

E?iter Field., Rose, Mary, r. Enter Noah, Mont., Ezra, 
Hughes, Mason, c. An old man to play the violin for 
the dancing, if possible. 

Mason. All ready for a dance ? 
_ Rose (to the girls). I should think you girls would be too 
tired for dancing. You had quite a journey out here. 

Oct. Oh, no, we are not tired. We came over half the 
way in autos. 

Irene. And of course we didn't mind the last half of the 
journey. 

All (laughifig). Oh, no ! 

Mont, (looking about). There was something — er — hu- 
morous occurred during the last half of the journey ? I fear I 
don't — er — comprehend. 

Flos. I fear you don't. For pity's sake, explain to him, 
Irene. 

Irene. Why, you see, Mr. Montmerry, Mr. Mason and 
Mr. Simpson met us so we didn't mind walking up here. 

Mont. But — er — wouldn't you become as fatigued walking 
with the young men as without them ? 

Hughes. They might, but they wouldn't know it. 

Mont. Er— er— I fear I don't Oh, I see ! I see ! 

Ha, ha ! Very good ! Ha, ha ! Deucedly good, don't you 
know ! 

Mur. (to Tom). Heavens ! He has grasped an idea ! 



38 . THE GIRL FROM UPPER 7 

Tom. I hope he lives through it. 

Enter Haw., c. 

Ezra. Well, Mr. Hawkins, you're going to dance with us 
to-night ? 

Mason. Of course he is ! 

Haw. Now, you young folks stop making fun o' yer elders. 
I'm goin' ter sit down over here an' hev a chat with Mis' Brent. 

(He starts toward her ; she ' regards him with a haughty 
stare.) 

Field. I tell you what ! Mr. Hawkins sings 1 

Ezra. That's right, he does ! 

All. Oh, yes, Mr. Hawkins ! 

Haw. Now, you stop yer foolishness ! If you think I'm 

going ter make a fool o' myself 

All. Oh, come on ! Please, Mr. Hawkins ! 

Ezra (putting him forward). Of course he'll sing 1 

(Song by Haw.) 

Mont. I have been hearing a great deal about American 
dancing, don't you know, and I have been looking forward to 
seeing an exhibition of some kind in this country, don't you 
know. New York, I believe I have been told, is the place. 

Irene. Oh, you don't need to wait until you go to New 
York. 

Oct. No. Tom and Muriel can show you right now. 

Mur. Oh, goodness, no ! 

Tom. I should say "Goodness, no"! I'm tired, if the 
girls aren't. 

Flos. Oh, you don't know the meaning of the word. Go 
ahead. 

Boys. Come ahead, McShane ! Take your turn ! 

Tom. Oh, well, if you insist. 

(Tom and Mur. give an exhibition dance. A varied pro- 
gram may be introduced if desired.) 

Ezra. What about a dance we can all join in ? 
All. Good idea. 

(They all dance. After they have been dancing two or three 
minutes, telephone rings. Haw. answers.) 



THE GIRL FROM UPPER J 39 

Haw. Hello! Yes! All right ! {To the dancers.) Say, 
listen a minute ! (They stop dancing.) I hate to stop your 
fun, but Scaling has telephoned up from the road office that 
some of the men are down there, and if you want to go down 
there now they'll give you a moonlight ride down the road in 
a hand-car. 

All. Oh, yes ! What fun ! Come on ! 

{They all exeunt, c, excepting Tom and Susan.) 

Mason {turning back from the door). You will come, 
Aunt Susan ? 

Susan {with the air of a martyr). Certainly. Where the 
girls go, I go. [Exit, c. 

Mason. And aren't you coming, Mr. McShane ? 

Tom. Not I ! I'm nearly dead, and if I've got to dance 
half the night I'm going to rest while I have the chance. I 
could go to sleep standing right here in the middle of the floor. 

Mason. All right. 

(Mason exits, c. Tom yawns ; throws himself on seat and 
pulls robe over him ; finds mask and cloak under the 
robe ; throws them on the floor without noticing what they 
are.) 

Enter Fleu., l. She looks about in surprise; she goes to 
door, c, and looks out ; as she turns back from door, dis- 
covers mask and cloak; picks them up. A song and 
dance by Fleu. may be introduced if desired. 

Fleu. Oh ! Ze masquerade ! Oh ! Fleurette will play 
ze zhoke on ze young ladees ! 

{She puts on the mask and cloak and exits, c.) 

{There is a pause ; Genie and Blake enter, c. Genie is 
in evening dress.) 

Genie {looking about in surprise). Why, there isn't any 
one here. 
Blake. Does seem like it, doesn't it ? 

{Goes to doors, l. and r.) 

Genie. Where in the world have they all gone ? 
Blake. Down on the road, I suppose. The girls wanted 
to see the work the boys are doing. 



40 THE GIRL FROM UPPER J 

¥ 

Genie. It's good work, isn't it ? 

Blake. Excellent. 

Genie. John, do you think Mr. Hughes is efficient ? 

Blake. Yes, I do, Genie. He is a fine young man and 
has done wonderfully well since your father has been ill. It was 
very much against his will to act as manager, but that was your 
father's order, and he has done the best he could. He feels 
his position more keenly because he hasn't the education of the 
other fellows. He thinks one of them would have filled the 
position much better. 

Genie. And what do you think ? 

Blake. I don't believe either of them would have done 
half as well. 

Genie. Do you believe that Malone is making all the fuss 
about the tracks on Lower 7 just because he is jealous of Mr. 
Hughes ? 

Blake. Well, that's what Fawn says, and I never knew her 
to be wrong about anything. She doesn't talk unless she knows 
what she is talking about. 

Genie. Not much like her white sisters, is she ? Gracious, 
if I should wait to know what I was talking about I should 
never say much. 

Blake. Genie, perhaps it isn't my affair, but I don't think 
it was just the thing for you to come way out here alone. 

Genie. Well, perhaps it wasn't, but there didn't seem to be 
any one but a maid to come with me. Gracious ! What could 
I do ? Father sent for me, and he needs me. You don't know 
how glad he was to see me. 

Blake. I think maybe I can guess. 

Genie. The doctor says he is better already. 

Blake. How long do you expect to stay ? 

Genie. I don't know exactly. It looks like a good long 
visit. 

Blake. Isn't your mother coming out here to be with you ? 

Genie. Oh, yes, as soon as she can. You see we were at 
Lenox, and mother is quite the rage there this season. She has 
a number of social engagements to fill before she can come. 
You are worried about me. Do you think Mr. Malone is 
going to be very disagreeable ? 

Blake. I wasn't thinking of him especially. 

Genie. Well, I'm sure the other young men are perfectly 
lovely. Malone is the only disagreeable person I have met 
since I left the East, and Mr. Hughes won't let him bother me. 



THE GIRL FROM UPPER J 41 

He made Malone get out of here this afternoon just because he 
wasn't polite to me. You just ought to have seen Mr. Hughes. 
He was perfectly grand, and when he was taking me down to 
the road he said I needn't worry. He could settle a piker — 
yes, I'm quite sure that was it — a piker like Steve Malone. 
What did Mr. Hughes mean by a piker, John ? 

Blake {impatiently). Oh, for goodness' sake, Genie, let's 
change the subject 1 I think I am getting rather tired of 
Hughes. 

Genie. I'm afraid I was rather flippant to Mr. Malone. 
Foolish, wasn't it ? 

Blake. Exceedingly so. 

Genie. Dear me, John, you have such a candid way of 
telling people their shortcomings. You see, Mr. Malone made 
me feel extremely fatigued. 

Blake. There's no reason why you should antagonize him. 
If you are going to help your father you will have to learn to 
leave your personal feelings out of the question. Possibly it is 
fun for you, but it isn't business. You are very likely to make 
a lot of trouble for the boys to say nothing of yourself. If 
Malone ever gets you in a tight place he won't show any mercy. 
He isn't the kind that forgets. 

Genie. Thoroughly disgusting, isn't he? 

Blake. No, he isn't. It's a mistake for you to start in 
with that idea. No man is ever wholly disgusting. There is 
always something good in him. Often it takes a long time to 
find it, but it is always there. I'll tell you what I have found 
that is good in Malone. His parents live over on the other side 
of the Eagle's nest. I accidentally came across them one day. 
The father is quite an old man and the mother is the quaintest 
little lady you can imagine. There is nothing but what Malone 
does for them. There is hardly a day but what he rides over 
to see them, and they are proud of him and never dream but 
what he is all they would wish him to be. 

Genie. Of course it would be you who would discover a 
thing like that. John, when you left Boston you were ill, 
weren't you? 

Blake. Yes, very. That was why I came out here. The 
doctor said I wouldn't live a year. 

Genie. But surely you are better now ? 

Blake. Perfectly well. 

Genie. Then I suppose you will go back home and take up 
your work again ? 



42 THE GIRL FROM UPPER J 

* 

Blake. I think not, Genie. I have found work to do here, 
and my life was given back to me here. It must have been 
given for a purpose. There are good men in the East to take 
my place, far better able to fill it than I. 

Genie. But, John, you were a brilliant preacher ; every one 
thought so. You had such a future ahead of you. There is 
surely no chance for success out here. 

Blake. Perhaps not as the world counts success. I have 
only one life to give. Why not give it where I know it is 
needed? 

Genie. Oh, I know you are needed here. Dad told me 
quite a lot of things to-night. All about the school where there 
hadn't been a teacher for so long, and the church where there 
hadn't been any minister, and — oh, a lot of things. The chil- 
dren all love you and the men all look up to you, and — oh, it's 
wonderful to be like that ! Will you let me help you with your 
work while I stay, John ? 

Blake {eagerly , leaning toward her). Would you like to, 
Genie ? Would you like to help me ? 

Genie {wholly unconscious of his attitude). Oh, ever so 
much. I've always been such a scatter-brain. I've never been 
a bit of use to any one on earth, not even myself. Why, if any- 
thing should happen suddenly, anything serious, you know, I 
should just say a lot of foolish things and not help any one a 
bit. Wouldn't it be wonderful, John, if I should find some 
work to do out here and want to stay here all the time ? 

Blake {with a far-away look). Yes, wouldn't it be wonder- 
ful? (Fawn runs in, c. ) Well, Fawn? 

Fawn {with a dramatic gesture). Come ! 

Blake {startled by her manner). Where? What is it? 
Who needs me ? 

Fawn. The Mountain Rose ! 

(Rose runs in, c, very much excited and out of breath.) 

Rose. Oh, Mr. Blake, go quick ! I was with Ned and 
Steve Malone saw us and he heard what Ned was saying to me. 
Now he knows it isn't Hughes and he will kill Ned ! Oh, go ! 
Go ! If anything happens to Ned I shall die ! 

Blake. Do you know what you are saying ? 

Rose. Oh, I don't care what I say or who hears me ! Mr. 
Blake, will you go ? 

Blake. Where? 

Fawn. To Lower 7 ! 



THE GIRL FROM UPPER J 43 

Rose. Ned has gone down there. He knows something 
that Malone intends to do to-night. He wouldn't tell me what, 
and he has gone to stop him ! Oh, will you go ? 

Blake. Yes ! 

(Blake goes to telephone.') 

Fawn. Come ! Quick ! [Exit, c. 

Rose (to Blake). Oh, what are you doing? Why don't 
you go ? 

Blake (at the telephone). It isn't right to go and leave you 
girls here alone. I don't know what to do ! 

Genie. We're perfectly safe. Go and I will call up some 
one. 

Blake. Very well ! Lock this door and bolt it ! 

[Exit, c. 

Genie (calling after him). All right. Well, now, I think 
locking the door would be very foolish. That looks as if we 
were afraid of something. (Genie goes to telephone. Rose 
sits by table a?id looks perfectly miserable.) Hello ! Hello ! 
No one answers ! Hello ! Why don't I get some response, 
Miss Hawkins ? 

Rose. Telephone connection out here is very uncertain. 
This line is really to connect the office with Upper 7, and if 
there isn't any one in the little office down on the road, you 
can't get any connection. 

Genie. Well, I'm not going to stand here all night. I can 
try again. We are safe enough anyway. I'm awfully sorry 
for you, Rose. (Sits down by Rose.) You don't mind if I 
call you Rose, do you ? You know I'm going to live out here 
for a while, and I know I'm just going to love you. You — you 
like Mr. Fielding quite well ? 

Rose. Oh, yes, and I'm so unhappy. You see, some things 
don't look just right for him, and oh, I can't believe anything 
against him ! You don't think he looks like a robber, do you ? 

Genie. Goodness, no ! I was noticing him especially this 
afternoon, and he is the most childishly innocent looking young 
man I ever saw. I think you are very sensible to like him. He 
will be awfully handy to have around the house. He can cook 
quite a lot, and not only that, he can cook when he doesn't 
know what he is cooking. He made something for dinner. It 
was just a trifle strong of either mustard or molasses, I couldn't 
quite decide which, and it left you feeling terribly thirsty, but 
aside from that it really was quite good. 



44 THE GIRL FROM UPPER 7 

Rose {half laughing)* Oh, dear, Miss McShane, you ac- 
tually make me forget that I am unhappy. 

Genie. Well, there's something in that. Most people make 
you remember that you are unhappy. 

Enter Field. , c. He staggers forward holding tightly to one 
arm. 

Field. Rose, you here ? Malone has done for me ! 

(He falls at her feet.) 

Rose (starting up with a scream). Oh, is he dead ? 

Genie (looking down at him). My goodness, I don't know ! 
If he wanted to die why didn't he do it outside ? The idea of 
coming in here and dying right in the middle of the floor ! So 
ill-bred of him ! 

Rose (wringing her hands). Oh, what shall we do? What 
.shall we do ? 

Fawn (running in, a). White chief from Lower 7 comes ! 

Rose. Malone coming here ? Oh, what shall we do ? 

Genie (to Fawn, pointing to Field.). Is he dead ? 

Fawn. No. 

Genie. What is the matter with him ? 

Fawn (scornfully). Nothing ! Shot ! Malone ! White 
coward drop for nothing ! 

Rose (indignantly). He isn't a coward. 

Genie. See here, Miss No-Fraid, you know what to do. 
Take care of him ! 

Fawn. Fawn will not help the white coward. 

Genie. Yes, you will, too, and you'll do it now ! 

Fawn. Fawn will not help the white coward. Fawn de- 
spises weak pale face. Fawn loves the mighty red braves 
who 

Genie. Miss No-Fraid, this is no time to be speaking 
pieces. You will help him now. 

Rose. What would John Blake say to you ? 

(Fawn kneels by Field. ; pushes back his sleeve, tears off a 
piece of her sash and ties it tightly above a wound in his 
arm.) 

Genie. Try the telephone again, Rose ! (Rose goes to 
telepho?ie. Genie starts toward door.) I'll see if I can find 
some stimulant of some kind. 



THE GIRL FROM UPPER 7 45 

Fawn. No time for that. White chief will come. Must 
hide the white coward. 

Genie {turning back from door). Oh, yes, hide him ! So 
easy ! He's such a cute little thing ! 

Rose (turning from telephone). Oh, it's no use ! No one 
answers ! What shall we do ? 

Genie (as they all kneel by Field.). It's too bad he is un- 
conscious. He would be so pleased if he knew three girls were 
all excited about him at the same time. 

Rose. Oh, Miss McShane, you have no heart at all ! 

Genie. Haven't I though? It's pumping like a church 
organ, and right up in my throat. I've swallowed it so many 
times I feel as if I had just eaten a very large Thanksgiving 
dinner. Well, now if we are going to hide Mr. Fielding, we 
had better be quick about it ! 

Rose. You are sure he isn't dead ? 

Genie (as they try to move him). No, not yet, but I'm 
inclined to think this will finish him ! Oh, it's no use ! We 
can't do it ! He weighs a ton ! Here ! Move the table in 
front of him 1 (Rose and Fawn move the table in front of 
Field. Genie tears an Indian blanket from the wall and 
throws it over him.) We will cover him with this ! Gracious ! 
What will we do with his feet ? They are perfectly enormous ! 
They stick right up in the air like flagpoles. 

Fawn. Fawn will go ! Bring help ! 

Rose. Yes, yes ! Quick as you can ! (Fawn exits, c.) 
Oh, if Steve Malone comes and finds me here, he will be 
furious ! 

Genie. Yes, that's right ! Go in there ! Quick ! 

(Pushes her toward door, l.) 

Rose. And leave you ? Never ! 

Genie. Perhaps you will make it harder for me if you stay. 
Malone won't touch me. Go ! Do ! 

Rose (weakening). You really think it is best ? 
Genie. Yes, I do ! 

(Pushes her into room, L. ; closes door ; locks it and removes 
the key; goes to telephone; can 7 get any response. Ma- 
lone enters, c. , just as she turns from telephone. Malone 
looks about in surprise for a second ; gives a malicious 
smile as he makes Genie a bow.) 



46 THE GIRL FROM UPPER 7 

Mal. Good- evening, ft^iss McShane. 

Genie (stepping i?i front of table, stands between Field. 
and Mal.). Good-evening, Mr. Malone. 

Mal. (going to door, r., and looking out). Where's every- 
body ? I thought there was a party going on here. 

Genie. So did I. That was why I came. But regarded as 
a party this isn't exactly a success, is it ? 

Mal. Well, it is rather small, that's a fact. 

Genie. And so select. 

Mal. Say, you're a pretty slick one, ain't yer? Where's 
Fielding ? 

Genie. Mr. Fielding is not at home. 

Mal. Don't try that on ! I know Fielding came up here. 
I'm on to him ! I made a mistake. I thought Hughes was 
the man who has been causing so much excitement around 
here, but I know now. It's Fielding ! Huh ! I'll show Rose 
Hawkins what he is and see if she thinks he's so much bet- 
ter'n me 1 

Genie. What a delightful man you are, Mr. Malone ! 

Mal. Huh ! A few of you will find out how delightful I 
am before I get through. Where's Fielding? 

Genie. I told you that Mr. Fielding wasn't here. 

Mal. There's no use trying that game. He's here, and 
I'll have him. (Goes to door, L.) What you got this door 
locked for if he ain't in there ? 

Genie. There are some ladies visiting here. What few 
belongings they have with them are in that room. Mr. Field- 
ing isn't there ! 

Mal. That won't go, Miss McShane ! You're going to 
open that door ! 

Genie. Am I ? I'm glad you told me. 

Mal. (taking a look out door, a). Do you refuse? 

Genie. I am sorry, but I think I shall have to. 

Mal. (drawing a six-shooter and pointing it at Genie). 
Do you still think you will refuse ? 

(Tom wakes up ; looks out from under the robe ; steals up 
back of Mal.) 

Genie (helplessly). Why — I — I — can't very well, can I ? 
(Sees Tom; suddenly smiles at Mal.; walks toward him.) 
Just drop the gun, please. You make me so' terribly nervous. 
(Mal., completely deceived, lets the gun drop at his side.) 



THE GIRL FROM UPPER 7 47 

Now, let's talk it over. (Tom grabs the gun and takes it away 
from Mal. Mal. turns, just too late.) Got it, Tom? 

Tom. Well, rather ! {Points the gun at Mal.) Hands 
up, my friend ! 

Mal. (as he raises his hands). Thunderation ! 

Genie. I think I'll still continue to refuse, Mr. Malone ! 

(Mal. moves backward toward the door, one step at a time.) 

Tom. Don't go any further, Mr. Malone ! Stop right 
where you are ! 

Genie. Tom, I always said you were a joke, but I take it 
all back. You are anything but a joke. 

(Fawn runs in, c, followed by Blake, Susan, and all the 
boys and girls. Two of the fellows seize Mal. Haw. 
covers him with his gun.) 

Fawn {looking at Genie and back at Blake). Fair maid 
is safe ? 

Blake. You are all right, Genie ? 

Genie. Of course I'm all right. Tom was here. 

Tom. Yes, I was here ! 

Susan. My dear Miss McShane, you have given us such a 
frightful scare. (Drops into a chair.) I'm very nearly over- 
come. 

(Girls stand around her and fan her.) 

Mont, (putting his ?nonocle in place). Dear me ! 

Haw. Gosh all Caesar, what's been going on here, anyhow ? 

Tom. Hanged if I know ! Looks like a moving picture, 
and I just woke up in time for the last reel. 

Blake (sternly). I thought you understood, Malone, that 
you were not wanted here. What did you come here for ? 

Genie. He seemed to have an idea that Mr. Fielding was 
here. In fact, he was quite determined to see him. 

Haw. By heck, I wish I had a good excuse to arrest you, 
Malone. You'd be a lot better off if you was in the Sedhill 
jail. 

Fawn. White chief robs his own ranch last night and says 
another did it. 

All. What ? 

Fawn (pointing at Mal.). Search the white chief now ! 

(They surround Mal. He struggles to get away,) 



48 THE GIRL FROM UPPER J 

Boys. Hold on, Malon^J Easy ! Don't get funny ! 

Hughes' {taking a bunch of papers from Mal.'s pockets). 
Here, what's this stuff? 

Haw. What you got, boys ? 

Hughes. Money ! 

Mason. Bonds ! 

Hughes. Sedhill bank papers. 

Ezra. So that's your game, is it? Hand him over to his 
own gang ! They'll lynch him in about five minutes. 

Susan (starting up and then droppi7ig back into chair). 
Lynch? I knew somebody would be lynched. I am quite 
overcome. 

Blake. No, there will be nothing like that. Mr. Hawkins 
will take care of Malone. 

Haw. Certain ! So you're the Black Raider, are yer ? 

Mal. Not by a long sight, I ain't ! The Black Raider be- 
longs right here ! He left here, too, all rigged up jest a few 
minutes ago. 

All. Absurd ! Nonsense ! 

{Telephone rings. Hughes answers.) 

Hughes. Hello ! Yes ! Mr. Hawkins is here ! All 
right ! 

Blake. What is it, Hughes ? 

Hughes. The message is from the road office from Scaling. 
He says he saw the Black Raider not more than five minutes 
ago, and he wants Mr. Hawkins to come at once. 

Mal. What'd I tell yer ! Now, p'raps yer'll take notice 
that Fielding ain't here! (They /00k from one to the other, 
begin to grow uneasy.) Where is he? Where is he, I say? 
Who can answer that? 

Genie. Why, I can, Mr. Malone. (Pulls the blanket from 
Field.) Mr. Fielding is right here ! 

All. What ? 

(Mason and Blake rush to Field., and kneel by him.) 

Mason. Ned ! Ned ! 

Mont. Dear me 1 

Susan (starting up and sinking back i?i chair again). This 
time I am completely overcome. 

Blake. Go ahead, Hawkins, and get the Black Raider this 
time and have this foolishness stopped ! 

Boys. Take us, Mr. Hawkins ! 



\ 



THE GIRL FROM UPPER 7 aq 

Haw. I'll take Hughes. (Hughes exits, c, followed by 
Fawn.) What about my prisoner ? 

Blake. We will answer for his safekeeping. 

[Exit Haw., c. 

Tom. Sure, Genie can manage Malone with one hand tied 
behind her. I take off my hat to you, Genie. You are the 
bravest girl I know, or ever expect to know. 

Genie. Brave ? Me brave ? That's a good one, Tom I I 
was almost scared to death ! 



CURTAIN 



ACT III 

SCENE. — The same as in Act /. 

(As curtain rises Field, and Rose sit by table at L. Field. 
has his arm in a sling.) 

Rose. You are all right, Ned ? ' You are sure ? 

Enter Tom and Genie, c. 

Field. Yes (rising and going toward Genie), thanks to Miss 
McShane. I am really very sorry that I was weak enough to 
cause you so much trouble. It's a mere scratch, but I cer- 
tainly thought Malone had killed me. I can't seem to realize 
that I'm still living. 

Genie. I think I'm still a little dazed myself. I know one 
thing (turning toward Tom. Field, goes back to Rose, and 
they begin to talk, forgetting that Tom and Genie are in the 
room), I have a cousin worth having, and I never knew it 
before. 

Tom. The same here, Genie. I never appreciated you be- 
fore. Say, I want a job on the road ; will you give it to me ? 

Genie. You really mean that, Tom ? 

Tom. I sure do. 

Genie. Gracious ! I didn't know you, that's a fact ! You 
are going to Upper 7 with me to-night, and when father hears 
what you have done for me, you will get all the job you want. 
You will find that you have an uncle that will be a friend to 
you for the rest of your days. 

Tom (looking at Field, and Rose). Say, Genie, four is 
very much of a crowd ; do you know it ? 

Genie. Well, I should say so ! 

(Tom and Genie steal out, r.) 

Field. Say, Rose, when are you going to marry me? 
Rose. Ned Fielding, how ridiculous you are ! 
Field. There's nothing ridiculous about .that. That's the 
most sensible thing I ever said in my life. Come ! Tell me 

50 



THE GIRL FROM UPPER 7 5 1 

when ! Gee, Rose ! If Malone had been a little surer in his 
aim, you wouldn't have had any chance to tell me. 

Rose (with a shudder). Oh, don't talk about that ! 

Field. I bet you would have been sorry. After all I have 
been through I should think you would have a heart. Tell me 
when. 

Rose (rising and walking away from him). Ned, some- 
body may come in here any minute, and supposing they should 
hear you ? 

Field. Well, come on outside where there isn't so much 
company. 

Rose. No, you mustn't, Ned. I don't believe you are 
strong enough. 

Field. I should fret ! 

{Grabs her by the hand and pulls her out, C.) 
Rose. Ned, stop ! 

(Irene looks in from l.) 
Flos, (just behind Irene). Is Douglas out there? 

{They enter.) 
Irene. No, there isn't any one here. 

Enter Oct., Mur. and Gen., l. 

Oct. Where are they all ? 

Irene. Oh, isn't it exciting ? I wonder what they have 
done with Malone ? 

Oct. Let's find him I I'm just dying to talk with him ! I 
always have wanted to meet a notorious character. 

Mur. Where's Tom? Oh, wasn't he brave to save his 
cousin ? I always knew he was a hero. 

Flos. Oh, sp-lash ! 

Enter Susan, l. 

Susan. Girls, come right back in here ! 

All. No, we don't want to ! 

Irene. It's so hot in there ! 

Gen. (with a languid air). And stupid without the young 
men. 

Susan. Don't talk to me ! Come right in here ! If we've 
got to die we will all die right in here together ! 



52 THE GIRL FROM UPPER J 

Oct. Oh> mother ! i 

Irene. Oh, dear ! 

Flos. How disgusting ! 

Gen. Yes, extremely tiresome of mother ! 

Mur. I wish I knew where Tom was ! 

{All exeunt, l., with Susan.) 

Enter Mont., c. He takes off his hat and fans himself with 
it; sits down ; throws his arms back of his head ; yawns. 
Fleu. enters, c, dressed in cloak and mask. She goes up 
back of Mont., and places a six shooter against his head.) 

Mont, {turning). Oh, I say, what a deucedly unpleasant 
surprise, don't you know ! {She forces him to rise.) I say, old 
top, what's the trouble, anyway ? {She forces him around 
backward in a circle.) I say ! Cease your bally nonsense, 
will you? I'm no exhibition dancer, don't you know? Point 
the bally gun the other way for a change. You might have a 
sudden chill, don't you know, and if you did it would be 
mighty unpleasant for me, don't you know. What the deuce 
you want, old top? {Gives her his pocketbook.) There! 
That's every blooming cent I have, don't you know. You will 
have the satisfaction of knowing I'll have to swim back to 
England, don't you know. Oh, I say, you've got my money, 
why not quit the bally nonsense, don't you know? 

{She forces him out, c, and follows.) 

Enter Mal., r. His wrists are fastened together and he looks 
anything but happy. He is quickly followed by Blake. 

Blake. Where do you think you are going, Malone ? 

Mal. Oh, don't worry, I ain't going far. I don't like the 
company out there. I wish Hawkins would hurry up and 
remove me from yer midst. 

Blake. Malone, do you think you have any reason for 
speaking to me that way ? 

Mal. No, I ain't. You've been mighty square to me 
always, but you can't think I'm feelin' specially social jest 
now. 

Blake. No, I understand, Steve, and I'm sorry from the 
bottom of my heart. I always believed there was a whole lot 
of good in you and I'm disappointed. 



THE GIRL FROM UPPER 7 53 

Mal. I reckon probably you are, but a heap o' good that's 
likely ter do me. (Rose enters, c.) Now, you come along 
ter gloat over me ! % 

Rose. You know I wouldn't do a thing like that. I didn t 
know you were here. I'm sorry, Mr. Malone; sorry in spite 
of what you have done. 

Mal. Huh ! I only wish I'd been a little more successful. 
I'd know yer couldn't marry Fielding arter I'm tucked away. 

Blake {sternly). Malone, you don't realize what you are 
saying ! Come, Miss Hawkins. (Rose exits, R. Blake goes 
to door, c.) Douglas, where are you ? 

Mason {stepping to door). Right here, Mr. Blake. What 

is it ? 

Blake. I only want to know that you are where you can 

see this door. 

Mason {glancing in at Mal.). Oh, leave that to me. 

Don't you worry. 

(Mason exits. Blake exits, r. Mal. throws himself into 
a chair by the table.) 

Enter Fawn, l., softly ; goes to door, c, and looks out ; goes 
back of Mal. and places her hand on his shoulder. 

Mal. {turning ivith a start). Gosh! You're enough to 
scare a feller to death. Where the deuce did you come from? 

Fawn {warningly). Hush ! 

Mal. See here, Fawn ! Get me out o' this ! I don't know 
how you got in here, but you can get me out the same way. 

Fawn. White chief go away ? 

Mal. Well, you bet ! Get me out and this crowd won't 
be able to see my heels for dust. 

Fawn. And you will not betray Fawn's father? 

Mal. No, not if I get away, I won't. Your father can 
look out for himself, but if I have to stand trial I'll get even 
with you for giving me away. I'll tell all I know. I won't 
stand the whole of the blame alone. 

Fawn. Come ! 

Mal. {holding out his hands to her). Unfasten these darned 

knots ! 

Fawn. No time ! Come ! 



54 THE GIRL FROM UPPER 7 

{She starts toward door^h. Mal. rises to follow. Blake 
enters; R.) 

Blake. Malone ! Fawn ! What are you doing ? Malone, 
I guess the safest place for you is out there (pointing, r.), 
whether you like the company or not. (Mal. exits, r. Fawn 
stands leaning against the table.} Fawn, I thought you were 
our friend. Instead you are Malone' s friend. 

Fawn. No ! Fawn hates the white chief ! 

Blake. Yes, it looks very much like it ! 

Fawn. Fawn betrayed him to you. 

Blake. Yes, I know you did, and now you try to help him 
get away from us. I don't understand. 

Fawn. You have the money, the papers. You don't need 
the white chief. 

Blake. No, I guess we don't. We can get along very 
nicely without him. 

Fawn. Then why not let the white chief go ? 

Blake. Fawn, it isn't possible that you don't understand. 
He must be put where he can do no more harm. 

Fawn. White chief would go away. 

Blake. Yes. No doubt of that. He would be glad to. 

Fawn. Harm you no more. 

Blake. He has never harmed me any as far as that goes, 
but I'm not the one to be considered. What's the matter, 
Fawn? Why do you want Malone to escape? I believe in 
my heart he is the Black Raider. 

Fawn. No. 

Blake. Who is then ? Come ! Tell me ! There is strong 
suspicion against Malone. I don't believe Hawkins will find 
any Black Raider, The more I think about it, the more sure 
I am that Malone is the man. 

Fawn. No ! 

Blake. Well, where did he get the money and the bank 
papers ? 

Fawn. You have them all. Let the white chief go 1 

Blake. Fawn, if Malone is in any way innocent he can 
prove it when he comes to trial. 

Fawn. Let the white chief go ! 

Blake. Fawn, you are shielding some one ! The Black 
Raider ! You are making a mistake ! If Malone had an ac- 
complice, tell who he was and help Malone that way. Malone 
is certainly half guilty or he wouldn't have the stolen property 



THE GIRL FROM UPPER 7 55 

in his possession. And another thing, you must remember that 
he shot at Mr. Fielding, although I never knew him to draw 
his gun on any one that way before. 

Fawn. White chief loves the Mountain Rose. 

Blake. Yes, I know he was crazy with jealousy, but that 
doesn't excuse him. Tell me what you know. 

Fawn. Fawn cannot tell. 

Blake. I will be a friend to you, Fawn, and help you to 
do the right thing if you will only tell me what you know. 

Fawn. Fawn cannot betray her own. 

Blake {puzzled). Your own? Your own? (Suddenly.) 
Fawn ! Your father ! It isn't possible that he is the Black 
Raider ? 

Fawn. Fawn's father hates the white people. 

Blake. Yes, yes, I know, but I never dreamed 

Fawn. You will let the white chief go, and Fawn and her 
father will go many miles to the setting sun, and the Eagle's 
nest will know them no more. 

Blake. No, you must not do that. It is wrong for you to 
live with such a man even if he is your father. You must 
come away from him and let him answer for his wrong-doing. 

Fawn. No. Fawn loves the red father. Fawn will stay 
by him. Fawn's heart aches. 

Blake (sympathetically). Yes, of course it does. 

Fawn. You will let the white chief go ? 

Blake. Child, I can't ! 

Fawn. Fawn loves the red father. 

Blake. Fawn, if I let Malone go and you and your father 
disappear at the same time, Mr. Hawkins will understand and 
he will trace your father. 

Fawn. Will try, but never find Fawn's father. 

Blake. Does Malone know where you would go ? 

Fawn. Yes. 

Blake. I understand. 

Fawn. And you will let the white chief go ? 

Blake. You don't know what you ask of me, Fawn. 

Fawn. Fawn loves her red father. Fawn will be left alone. 
White brother let the white chief go ! 

Blake. How do you think I can let him escape ? All the 
boys are watching this house and guarding the doors. 

Fawn. Fawn knows a way. 

Blake (in despair). Indeed? If there is anything you 
don't know I have yet to learn what it is. Well, go in there 



56 THE GIRL FROM UPPER 7 

(pointing, l.), and wait for^me. (Fawn exits, l. Blake goes 
to door, r.) Genie ! Just a minute, please ! (Genie enters, r.) 
Genie, I would give a good deal to be able to talk with your 
father for a few minutes. As I can't see him you must answer 
for him. 

Genie. Oh, no, John, no — I 

Blake. That won't do, Genie. I want you to help me. 
Help me to do the right thing. 

Genie. I help you, John ? 

Blake. Yes. Now, listen, Genie, and don't make any fool- 
ish talk. Listen and try to stand' in your father's place and 
answer as he would answer. 

Genie. Yes, John. 

Blake. I wish to let Malone escape. 

Genie (in astonishment). Let Malone escape ? 

Blake. Yes. Genie, Malone is guilty, but not half as 
guilty as he seems. He has an accomplice. That accomplice 
is the Black Raider. Together they have been a bad pair and 
they should suffer ; but, Genie, others will have to suffer more. 
There are Malone' s parents over on the Eagle's nest. They 
are the ones who must really suffer. The Black Raider has a 
daughter. That daughter has been our friend and has be- 
trayed Malone to us that we might recover the stolen property. 
She brought me to you to-night. 

Genie. Fawn, the Indian girl ! Her father is 

Blake. Hush ! She asks that we spare her father. She 
will go away with him. Malone will go away and we will never 
hear from them again. 

Genie. But, John, you are letting them go from us to per- 
haps do the same thing again. 

Blake. Yes, there is that side of it. There is also another 
side. I have always believed in the good in Malone. A new 
start in another place, perhaps, makes him a better man. 

Genie. But, John, our government ? Our laws in regard 
to such men? Don't they count? 

Blake. Yes, they do, Genie. I realize all that. But if we 
do this thing we shall have to set aside the laws of man and 
think only of the higher law. The red sister was ready to help 
the white sister. Now she asks us to spare her father. It is 
your father who should stand where I do. What would he say ? 

Genie. Let Malone go. 

Blake. You mean that ? 

Genie. Yes. 



THE GIRL FROM UPPER J 57 

Blake (going to door, r.). Malone ! (Mal. enters, r. 
Genie guards door, c.) Malone, you are going far away where 
you will never be heard from again. 

Mal. Away ? You mean that 

Blake. Yes, we are going to let you escape. We are doing 
it for Fawn's sake, and the sake of your parents. Wherever 
you go, Malone, you are to write to me and I will take your 
father and mother to you no matter how far it is. That is the 
one thing I exact of you. You will send for them and live 
with them after this and make a new start in life. You will 
promise me that ? 

Mal. Yes, I promise. 

Blake {cutting the cords that bifid Mal.'s wrists'). I still 
believe in you, Malone, and I want you to also promise that 
you will try to redeem the past. 

Mal. Yes, I will try, Mr. Blake. 

Blake. Fawn will show you a way to get the start of Haw- 
kins and the boys, and then it rests with you. Take my horse. 
You know where you will find him, and this will help you on 
your way later. (Gives him some money.) 

Mal. No, Mr. Blake, I can't do that. I can't take your 
money. 

Blake. You must ! You will need money later, and you 
can't stop now for any of your belongings. You understand 
that? 

Mal. Well, rather ! 

Blake (going to door, l.). Fawn ! (Fawn enters, l.) 
Now ! Quick as you can ! 

Mal. Mr. Blake, will you shake hands with me? 

Blake. With all my heart. (Takes him by the hand.) 
Remember, Steve ! A new start for the sake of the old couple 
who love you and believe in you. 

Mal. I promise, Mr. Blake. 

Genie (going forward and offeringMAL. her hand). Good- 
bye, Mr. Malone. 

Mal. (grasping her hand). Good-bye, Miss McShane. 
You're all right, you are. 

[Exit, Mal., l. Fawn starts to follow. 

Blake. Fawn, I will see you again before you leave the 
Eagle's nest. 

Fawn (sadly). No. White brother will never see Fawn 
again. Fawn and the red father will be many miles from the 
Eagle's nest before the rising sun. 



58 THE GIRL FROM UPPER 7 



* 



Blake. 'But, Fawn, there are many things I would like to 
say to you. 

Fawn. No time for that. Fawn will remember all the white 
brother has told to her. 

Genie. And I want to talk to you, too, Fawn. You have 
done so much for me in such a short time, and now you are going 
away and there will be no chance for us to be friends. But 
you will not forget me, Fawn? (Takes a r big from her finger 
and slips it on Fawn's finger.) When you look at this, re- 
member that you have a white sister. . 

Fawn. Fawn will not forget. ( With a meatiing glance at 
Blake.) Fair maid will be happy here. Fawn's heart aches. 

(She exits with bowed head.) 

Genie (standing looking after her for a second, then turning 
to Blake). Well, we have done it, John ! Partners in an effort 
to defraud our government and abet the escape of a criminal. 

Blake (taking her hand). No, not that, Genie. Partners 
in an effort to redeem a fellow man. 

(They stand silent for a second. Blake suddenly looks R., 
with a warning glance ; draws Genie out c.) 

Enter Noah and Mary, r. 

Noah. Dad's an awful long time. I wish he'd taken me. 
I'd landed the Black Raider before this time. 

Mary. You wouldn't land a mosquito, Noah. (She stands 
looking at the college flags on the wall.) You haven't even 
spunk enough to ask dad to send you away to school. 

Noah. Is that so ? 

Mary. Yes, that's so ! 

Enter Hughes and Haw., c. 

Noah. What luck ? 

Hughes. None at all ! I'm so darned disgusted ! 

(Hughes exits, r. Haw. sits down and looks down and out.) 

Mary. You didn't find the Black Raider, dad ? 

Haw. There ain't any sech thing as a Black Raider ! 
Never wuz and never will be ! Don't talk to me any more 
'bout any sech person 1 

Mary. All right, dad. Talk about me. I'm a whole lot 



THE GIRL FROM UPPER J 59 

more interesting than the Black Raider, anyhow. Say, can I 
go to Harvard when I grow up ? 

Haw. Gosh all Caesar, Mary, gals don't go to Harvard ! 

Mary. Don't they? Why not? Haven't they ever been? 

Haw. No, o' course not ! 

Mary. Well, it's time they did ! I'm going, anyway ! 

Haw. I wouldn't be a mite surprised, Mary, not a mite, 
that they probably take you in when you git there. You al- 
ways manage ter git yer own way. 

Mary (going around back of Noah). Fraid cat I Don't 
dare to ask him ! . 

Noah. Is that so? {Steps toward Haw .) Father — er— 
father — I — er — father 

Mary (standing back of him, imitating him). Yes, father ! 

Haw. What be the matter with you, Noah ? Be you tongue- 
tied all of a sudden ? 

Noah. No, sir, I'm not ! I just want to ask you if you 
care if I get a job and go to work ? 

Haw. A job? Wal, what in tarnation? Ain't we got 
work enough around home fer you to do ? 

Noah. More than enough ; but you see, I want a paying 
job. 

Haw. Wal — gosh' 11 — what do you want o' so much money 
all of a sudden ? 

Noah. I want to go to the academy down at Sedhill. 

Haw. Oh, .thet's it? Yer wants some higher edication. 
Wat good yer think thet's goin' ter do yer? I ain't never hed 
no higher edication, an' look at me ! I'm gettin' along all 
right. You can't go ter no 'cademy in Sedhill. That's set- 
tled. It's jest so much foolishness ! An' yer goin' ter stay 
right at home an' work fer yer father fer quite a spell longer. 
Understand ? 

Noah (turning away). Yes, sir. 

Mary. Now see here, father 

Haw. That'll do fer you, Mary. I'm talkin', an' I ain't 
got through. (To Noah.) Where'd Mr. Blake learn all the 
tomfoolery he's got stored away in his head ? 

Noah ((indifferent/y). Harvard. 

Haw. Harvard, eh? Wal, if he can git enough into yer 
head ter pass yer through thet'll be a good place fer you to go. 

Noah (in astonishment). Harvard? Me? 

Haw. I'd like ter know the reason why not ? If Harvard's 
too good for my son I'll find out the reason why. 



60 THE GIRL FROM UPPER 7 

Noah. You don't honestly mean that you would send me 
to Harvard ? 

Haw. Yes, you and Mary can run along together. 
Noah. Well, great Scott ! 

Enter Hughes and Ezra, r., greatly excited. Ezra rushes 
out L., and returns. 

Hughes. Where's Malone? He isn't out there and I just 
happened to remember that he wasn't in here when we came in ! 

Haw. (getting excited}. Nice time to remember it ! 

Ezra (pointing l.). He isn't in there ! He isn't in the 
house ' 

Haw. Come on, quick ! 

[Exeunt, Haw., Hughes and Ezra, c. 

Enter Girls, l., followed by Susan. 

Irene. What is it ? 

Flos. Where's Douglas? 

Mur. Where's Tom ? 

Oct. (Jo Mary). Do you know what has happened ? 

Mary. Malone has escaped. 

Enter Fleu., c., dressed in cloak and mask. She crosses 
stage and exits, L. 

Girls. Oh, help ! Help ! The Black Raider ! 
(Blake and Tom rush in, r.) 

Enter Mason, Field., Rose, Genie, Hughes and Haw., c. 

Haw. He came in here ! I saw him ! Where did he go? 
(Enter Mont., c.) Keep cool, gals ! Where did he go? 
Girls (pointing, l.). In there ! Be careful, Mr. Hawkins ! 
Haw. Let me at him ! In the name o' the law ! [Exit, l. 
Mont. Get him, old top ! Get him ! 
Fleu. (outside). Help ! Help ! 

(Haw. drags her in, L. She has the cloak half off and has 
removed the mask.) 

Haw. Gosh all Csesar ! Look what I've ketched ! That 
French doll o' Mis' Brent's ! 
Girls. Fleurette ! 



THE GIRL FROM UPPER J 6 1 

Susan (dropping into a chair). I am quite overcome ! 
Mont, {regarding Fleu. in astonishment'). B-bb-by Jove ! 
Fleu. Oh, I faint ! I faint ! 
Tom. Well, faint ! It's all the same to me ! I've resigned ! 

(Fleu. suddenly decides not to faint.) 

Haw. Gosh all Caesar ! I've resigned, too ! I'm sick o' 
my job ! Malone's escaped, and look what I've ketched ! This 
ain't no work at all fer a live man ter be doin' I Where'd yer 
git them contraptions ? 

Fleu. Oo-oo, deear ! Fleurette try to play ze zhoke on 
ze young ladees, an' she lose ze young ladees an' she hev one 
dreedful time, an' one, two, tree mans chase her, an' she only 
play ze zhoke on Meester Montmerry. 

(Hands him his pocketbook.) 

Mont. Thanks awfully, don't you know. 

Fleu. I peecked ze zings up on ze floor over by ze door. 

Tom. By Jove, I guess that was what was hidden under 
that robe. 

Field. Quite true. They belong to me. 

All. What ? 

Rose. Oh, Ned ! 

Mont. Dear me ! 

Susan. I knew it ! 

Mason. Ned, isn't it about time you gave us an explana- 
tion ? We have all tried hard to believe in you, and you know 
that I would to the end, but still I think there is an explanation 
coming to us. 

Blake. Yes, Ned, I think the time has come for you to 
speak. 

Field. All right. Here goes ! One night when you fel- 
lows were sleeping the Black Raider paid us a visit. It was 
quite a while ago, when we first began to hear about him. He 
fooled around this room for a few minutes, didn't touch a thing, 
and didn't seem to be interested in anything but the plan of 
the road which was here on the table. He hadn't any idea 
that he was being watched, and when he left I followed him. 
I felt positive it was Malone ; and when he went to Lower 7, I 
felt sure. A day or two later we began to hear some lively 
stories of the Black Raider, so I began to go out nights in the 
hope of catching Malone in the act. You see, I knew Malone 
wanted to marry Miss Hawkins, and at that time I didn't know 



62 THE GIRL FROM UPPER 7 

* 

how much she cared for him, and — well, I didn't want her to 
marry the kind of a man I believed Malone to be. I wouldn't 
speak, for I hadn't any evidence against him, and I haven't 
now. Malone was the Black Raider a few nights. Of that I 
am sure, but he never did any damage. He had an accom- 
plice who was the real Black Raider, and on the nights the 
exciting things happened, I had Malone spotted and he wasn't 
doing a thing. 

Haw. Where'd you get this stuff? 

{Points to the mask and cloak.") 

Field. I bought the mask. I had the cloak. When I 
found there were two of them, I thought if I dressed as the 
Black Raider, I might be able to fool Malone some night and 
get at the truth, but it didn't work. Malone got on to me, but 
he thought I was Hughes. 

Haw. Wal, gosh all Caesar ! Young man, I'm glad I ain't 
got ter arrest you, anyhow. 

Field. So am I, Mr. Hawkins. You see, I want to be 
your son-in-law, and that wouldn't have been a very good 
start. 

Haw. You want to Wal, what in tarnation? See 

here, do you think for a minute that you can hev my Rose ? 
Why, I couldn't live without Rose. I guess she'll stay right 
in my house for quite a spell longer. That's what I guess. 

Field. Oh, that's all right. She can live at home if you 
like, and I'll go over and live with you. 

Enter Ezra and Noah, r. 

Ezra. Mr. Blake, your horse is gone. I guess that ac- 
counts for Malone's disappearance. 

Haw. Yes, an' he's got more than a start. We can't do 
nothin' more till daylight. How did he git out o' this house ? 

Genie. I shouldn't think it made any difference how he got 
out. The fact is that he is out. And what about the tracks 
on Lower 7 ? Who is going to settle that affair ? Now he is 
gone Lower 7 is without a manager. 

All. That's right, too. 

Mason. As far as that goes, we are without a manager. 

Genie. No, we are not. John, what did you do with that 
paper I handed you just before we left the house ? (Blake 
hands her a paper.) Mr. Hughes, I brought this from the 



THE GIRL FROM UPPER J 63 

East with me. It is your appointment as manager here in 
my father's place. You see, my father is really a stockholder 
in the road and one of the officers. He came out here as a 
temporary manager until he could find the man fitted for the 
place. You are that man, Mr. Hughes. 

Hughes. Why, Miss McShane, I 

Boys. Good work, old man ! Congratulations. 

Blake. I can't tell you, Hughes, how glad I am that this 
has come to you. You had better make your first duty the 
finding of Lord Loveland. 

Hughes. Isn't it possible, Mr. Montmerry, for you to help 
us find the owner of Lower 7 ? 

Mont. Oh, ya-as, I think I could do that, don't you 
know. 

Mason. Why, you said you hadn't the least idea where 
Lord Loveland was. 

Mont. Quite true. You see, he died about two months 
ago, and I haven't the least idea where he went, don't you 
know. 

Ezra. Well, great Scott ! Who am I working for ? Who 
owns Lower 7 ? 

Mont. I do, don't you know. 

All. You ? 

Mont. Ya-as. You see, Lord Loveland was my uncle. 
He did me a great injustice a few years ago, don't you know, 
and we haven't been on real friendly terms, don't you know. 
Before he died, he found out his mistake, and as a recom- 
pense he left me his bally ranch, don't you know. As far as 
I'm concerned you can run your tracks all over it, don't you 
know. I'm going to take some shares in the new road, by 
Jove, and I fancy I can stand having some of it laid on my 
own land, don't you know. 

Hughes. Well, thank heaven that's settled ! What a day 
this has been ! 

Mason. Yes, and do you realize it all began with the 
coming of Miss McShane ? 

Genie. That's right ! Blame it on me ! I wish I had 
stayed in the East with mother. 

Mason. I wasn't thinking of blaming you, Miss McShane. 
You are a pretty handy person to have around. You mended 
my stocking. 

Field. Saved me from Malone. 

Rose. Yes, saved him for me, Miss McShane. 



64 THE GIRL FROM UPPER 7 

Tom. Gave me a chance to distinguish myself. 
Blake. Helped me make a decision. 

Hughes. Brought me the greatest thing that has ever come 
into my life. 

(As they speak each steps forward, for?tiivg a half-circle 
around Genie.) 

Genie (looking at them in pleased surprise). Gracious ! 
Have I done all that ? I guess I didn't realize. Well, if 
that's the case, I'm awfully glad I came to Upper 7. 



CURTAIN 



JL &!♦ Pinero's Plays 

Price, SO ee:ite Cacb 



MID fHANNFl Play in Four Acts. Six males, five females. 
miu-V/lirvilllJ^Li Costumes, modern; scenery, three interiors. 
Plays two and a half hours. 

THE NOTORIOUS MRS. EBBSMITH JSTSfflR 

males, five females. Costumes, modern; scenery, all interiors. 
Plays a full evening. 

THF PROFTirATF Play in Four Acts. Seven males, five 

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THE SECOND MRS. TANQUERAY ZgfSSXi 

females. Costumes, modern; scenery, three interiors. Plays a 
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^WFFT I AVFNHFR Comedy in Three Acts. Seven males, 
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THF THITWnFRRfll T Comedy in Four Acts. Ten males, 
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THF TIMF^l Comedy in Four Acts. Six males, seven females. 
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THF WFAKTR ^FY Comedy in Three Acts. Eight males, 
1 fl£i YT £i/ti\.E.Iv uLA eight females. CostumeB, modern; 
scenery, two interiors. Plays a full evening. 

A WIFE WITHOUT A SMILE 8KSi£S»ifi! 

Costumes, modern; scene, a single interior. Plays a full evening. 



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A^ YOn I IKF IT Come(i y "* F^ 6 Acts. Thirteen males, four 
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CA Mil T p Drama in Five Acts. Nine males, five females. Cos- 
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INfiOMAR Play m Five Acts. Thirteen males, three females. 
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MABY STTIABT Tragedy in Five Acts. Thirteen males, four fe- 
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THP MPDPHAVT HP VPNIPP Comedy in Fire Acts. Seventeen 
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BirHFI IFI1 ^* la y in Five Acts. Fifteen males, two females. Scen- 
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THF RIVAI S Comedy in Five Acts. Nine males, five females. 
11LL nl T ALt J Scenery varied; costumes of the period. Plays a 
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SHE STOOPS TO CONQUER 2SS&S SS^rthJSyZ 

ried ; oostumes of the period. Plays a full evening. 

TWELFTH NIOHT; OR, WHAT YOD WILL %SflJrJSZ 

three females. Costumes, picturesque ; scenery, varied. Plays a 
full evening. 



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